This one nearly snuck by me, and I'd kick myself if it did. (Thanks for the email, Gemma!) It's written (and this time also performed) by Gemma Irish, who was behind Fringe 2010's Yvette, which Mom and I enjoyed a whole lot and was in my pre-Fringe Top 10 that year. This script is a very different thing. More drama than comedy (though Gemma can't help herself, there's a lot of welcome humor here). It's about personal betrayal, which isn't always my thing. But if Gemma's exploring the topic, then I'm interested. Also, John Bennett, the man in this love triangle, was really great in the production of Naomi Wallace's The Inland Sea at Macalester last year, so he's more than just another pretty face. This one's definitely finding its way onto my schedule.
If I tell you the preview involved three guys kicking the crap out of another guy, then some unrestrained guy-on-guy kissing, a simulated blow job, and the special guest appearance of a young man's bare butt, would that be enough of an enticement to get you to show up (or perhaps repel you entirely)? Well, done, done, done and done. I wasn't the only one who was a little worried that the entire preview here would consist of those three guys wailing on the other guy for the full three minutes. As it was, it felt like it gobbled up the first two minutes. But that was probably just because the longer it went on, the more uncomfortable the audience got. Still, I think that's the point. I was already curious about this one, given the subject matter (gay-bashing) and the concept (all four actors take turns trading roles, as both the victim and his assailants, giving us multiple perspectives, and no easy hero or villain to follow all the way through). My reservations about how the violence would be handled (very convincingly) and the male intimacy would be handled (also very convincingly) are both rendered moot by this preview. I'm more intrigued to see it now than I was before (and I was pretty intrigued before). Plus, it's fun to watch how much more nudity throws people for a loop than foul language. (That might have been a Fringe For All first - I'm wracking my brain and coming up with no previous instances of nudity - feel free to chime in, remind us and prove me wrong.) Congrats on having the balls to do this preview right, guys (no pun intended). I'm there.
Student know-it-alls try to hijack a man's political campaign away from his actual campaign manager. The strange thing is, the whole time I was watching it I was thinking, "Why is it three women being bitchy and fighting over a male candidate?" I like that they all treat him like a know-nothing piece of meat on the one hand, but on the other hand, why isn't it a woman candidate with men and women fighting over her. Why doesn't the candidate have more of a voice? It feels like the silences of certain characters are more for the convenience of the writer than the realistic playing out of story and human nature. I'm torn, because I want to like the new plays, particularly the ones that aren't just about who's sleeping with who. But from the preview, I'm not sure how deep this political satire is going to dig. I needed the preview to dig a little deeper and surprise me a little more to get me to want to go see the full show.
A perfect example of how you can wow them without looking like you're trying too hard. The man is a genial storyteller. The magic tricks are simple but impressive (here, ropes that appeared to be knotted kept growing and changing and passing in and out of one another. No idea how he does it but it's a lot of fun to watch). The pacing of making the story work alongside the magic tricks still has some kinks (pardon the pun) but the guy delivers. A quiet little show that deserves an audience.
Male and female narrators, each trying to tell their love story in their own way. The spin they put on this was to layer on a whole host of other genres, from western to fantasy, so standard lines took on a different feel in a random alternate context. Plus, they kept it all moving along at a rapid clip, and were quite charming doing it. Still not sure if it's enough to draw me into the whole show, but they got dang close. I'm curious, and will remember them.
Dance your demons. Shake them out. We all want to deny our darker side,
but even this act of denial gives it power. So integrate, accept,
embrace. If we're on the road to hell, we might as well enjoy the ride.
Belly dancing with voiceovers by God and the Devil. Belly dancing's not really my thing, but if it's yours this might be worth checking out.
"Mr. Elk is in LA. Hence, I will be doing both melody and harmony."
The A Capella Animals with snappy patter, funny songs, goofy moves and
sweet harmonies. Seen on MTV, Comedy Central, Garrison Keillor's radio
show. Some whistling- no dogs allowed. Kids love it; they are tough!
Dean Seal sang a little ditty about eating in Chinatown. Clever patter song. A little footwork. Again, not my thing, but looks like it'll be a funny, variety show style production.
"I think you blew a seal."
"No, that's mayonnaise."
Tales of academia's unrequited love for the computer, from Paula
Nancarrow and Loren Niemi, with punctuation by John Devine. (Yes, there
will be nerd sax.) You can leave your phone on, but Siri buys a ticket.
I feel bad saying this, but it was fine. Not great, not awful, just fine. An amusing anecdote with a dirty joke tucked inside it that seems to be part of a larger narrative about, well… computers. And unfortunately I didn't find it all that compelling. The preview was plenty. I don't really feel the need to see more. Again, just not my thing.
Explore a comedic, insightful look into couples who have chosen to be
childfree yet have pets. Nadine and Mike share a decade of wisdom on
life with their dogs Little PD and Mr. Pi.
Uh, no. Sorry. The couple seems perfectly pleasant but the idea of watching a show where two people talk about how they treat their pets like children is right up there with… well, a real production of Romeo and Juliet for me. I'll pass.
"You can gender identify any way you want but you are going to play the violin."
Sophisticates will relish this high-end fictional talk show featuring
rarefied virtual guests engaged in dialogues of consequence. Moderated
by the thoughtful probings of Patricia Skylar Van Humphries, Host.
Points for trying. It's smart, arch satire certainly. But my first response to the title was "no" and the preview didn't really change my mind. While it's a lot smarter and funnier than I expected, it's still about the kind of people that make my teeth itch. So just like comedy about George Bush, I think I'll spare myself spending time in the company of characters I'd just as soon avoid in real life.
"Hey man, you wanna get stable tonight? We're gonna get so normal."
An autobiographical standup comedy and magic show centering around the
Midwest Emmy Award-winning performer's life as he covers the relatable
topics of work, family, relationships and anxiety.
My reaction to this preview was weird. The guy's got his routine down. Solid stage presence. Well-worn material. I guess I just have to be in the mood for stand-up comedy, and in this context, I found I wasn't. Nothing inherently wrong with it. It had some genuinely funny lines. But I'm not feeling compelled to see it.
"I work in dinner theater."
"Don't worry. One day you'll be a real actor."
In order to become the world's most celebrated Shakespearean scholar,
Dr. Gwen Marlowe-Thomas must prove that the Bard employed actual zombies
in his most famous works. How? Hold auditions.
In case you were wondering if Shakespeare combined with zombies was turning into a new Fringe genre, I guess the answer is yes. A zombie and a living actor walk into an audition. Make up your own jokes to that scenario, they were probably here. I was more interested in the set-up for the show - a researcher trying to prove her zombie thesis, and what the examples might be - than this preview bit. Zombies in general tend to squick me out so I need a really good reason to attend and play along. But able as the actors were here, the material wasn't selling me.
It's Tom Reed. I'm going. Now that he's done Harry Potter, Twilight, and Disney Princesses, the Hunger Games franchise was inevitable. Like Curt and Laura before him, you either dig Tom's schtick or you don't. I most certainly do. Mostly because he makes it look so easy that it's easy to forget the degree of difficulty here. He has to condense reams of material into a 45-minute time slot, create all the characters in a way that makes the plot easy to follow even though he's essentially just talking to himself for an hour. Then compose and perform songs in this context. And make sure it's funny, both for the rabid fan and the uninitiated. Oh, and as a friend and I were discussing, if Tom found a way to take off his shirt doing Disney princesses, the Hunger Games is a slam dunk for more disrobing. Nothing wrong with a little beefcake to go with your comedy. Plus, Tom's a big sweaty mess by the time it's over. Guy leaves it all onstage, even in a three minute preview. Am I a fan of the Hunger Games? No. Will I let Tom Reed tell me that story with jokes, physical antics and songs? You bet.
Host Robin Gillette's assessment that the venue for this show would now be moved to her office is in line with my level of enjoyment. A bunch of guys and folding chairs, thrust "unexpectedly" into having to perform to Beyonce's song "Bootylicious" was all kinds of silly and funny (and oddly sexy). Plus, John Zeiler is thrown by nothing. His chair collapsed, he kept right on dancing, pretending the sheer force of his own personal magnitude upended his prop. He even made a bit out of righting it again during the routine. Meanwhile, his cohorts kept displaying their bootylicious moves. And now I have yet another dance show I thought I might pass on suddenly trying to shoehorn its way into my crowded schedule. Hey, a little fun in a preview goes a long way.
I found this unexpectedly charming. Again, a geek embracing his geekiness and wearing it as a badge of pride. In this case, an obsession with yo-yos which grew into a lifelong love affair. His yo-yo skills, and willingness to poke fun at himself while not apologizing for his hobby, were enormously winning. The gimmicks and the jokes played off each other well. A smart, simple enticement to come and see more, which I just might do.
You either adore these two already (or suspect you do) or you don't. As they said, "Curt is still a big homo, Laura is still a big fag hag." Personally I'm a big fan and so is mom. This is a show she'll definitely want to see. Plus, any two skilled storytellers willing to revel in the power of just how awkward, ungainly and geeky they are can't help but win you over, given time. We've all been there (and if you haven't been there, lucky you). Comedy with the message that you're not alone, and laughing it off is the best cure.
Yes, shift happens. This was another one where the singers got off the rhythm of their pre-recorded accompaniment and things just kind of snowballed. There was also rapping, hence the title. It means well, female empowerment and all (and when done well, I'm a big fan) but I'm not sure how entertaining this particular Fringe offering might turn out to be. The preview didn't do them any favors. But kudos for going big. Lot of performers, high degree of difficulty, likely their first audience. We at least know the sort of thing they're shooting for now.
full title Joe Dowling's William Shakespeare's Romeo and Juliet on the Moon, featuring Kate Capshaw as Lady Capulet
I have to be honest. I thought this title was a joke at the Fringe Lottery in February, like "An Intimate Evening With Joe Dowling" clearly was. When it became clear this was the actual title, I have to admit it sounded like a horrible idea. Just to start with there are about 12 different kinds of inside joke geekiness in that title. Then what you imagine the concept is going to be... But this is Christopher Kehoe and the Peanut Butter Factory we're talking about, so I should have known better. I really enjoyed Kehoe's one man St. Christopher of Financial Aid, and I was bummed to have missed his Fringe show in 2011. As I have said many times before, Romeo and Juliet is one of my least favorite Shakespeare plays. The script, for all its beautiful poetry, drives me crazy. But here, they're playing it for laughs, so I'm on board. I'm also on board because the concept in this preview was damn funny. Paul Rutledge and Max Wojtanowicz are involved, and they're among my favorite actors lately. They picked a Shakespearean fight from the top of the play with an increasingly more befuddled guy speaking to them in modern English. The misunderstandings and insults were delightful. I actually can't wait to see more, which is a most welcome surprise in this case.
(Sadly, there is no video of the preview. Perhaps Joe Dowling's representatives are still clearing it for the public. There is, however, a little video blurb from Kehoe himself to tide you over...)
Ah, see, this is what I think the Vaginal Home Companion ladies were actually trying to accomplish. It's almost not fair. Again, three ladies, two of the three I know as Courtney McLean and Anna Weggel. Each very funny in their own right. Together, still more so. They played their own instruments, they say well together, they sang clearly and at good volume. Yes, that sounds like it should be a low bar to clear, but let's face it , a lot of acts don't, and these ladies more than cleared the bar, they raised it. Even if they were singing a song about a woman farting on a guy while they were cuddling, suitably entitled "Love Explosion." It's the juxtaposition of lilting melody and lovely voices and a "naughty" subject that makes the comedy work. For everyone, no. For me, most definitely yes.
Yet another of my five most anticipated returns of previous pre-Fringe Top Ten artists. Isobel Nelson and company just make me happy to watch theater. It's so ridiculously simple, how do we keep forgetting it? All you need are actors and a good story. No set, no props, no special effects. In less than three minutes, with a little bluegrass musical accompaniment, these people sewed seed in a field. Then they laid down in that field and pointed up at the stars. Then their pointing arms and hands became the waving wheat full grown. Then certain actors became the farmers threshing the wheat for harvest. Then a mother, father and daughter gather for a family portrait. Then the mother withdraws and the father and daughter are tossing dirt into the mother's grave. Then the girl is visiting the mother's grave and her flinty stepmother appears nearby and tells the girl to cut it out. (She's smoking an imaginary cigarette, so you know she's evil.) Each stage image like turning the page in a live action photograph album. Each stage image evoking the passage of time. The combined images creating a place and a community and the beginning of a story. All in under three minutes. Ballad of the Pale Fisherman, Red Resurrected, now to that list, we add Ash Land. Can't wait.
The scene chosen out of context unfortunately didn't do them any favors here. It was so much about an artist being selfish, and not at all about the central concerns of faith used to describe the story, that I don't think it represented the full show very well. Unless the show is about a selfish artist, in which case I was in doubt whether we were supposed to see the artist as selfish, or to see this behavior as justified in the service of one's art. Which is bullsh**, so I can't believe that's what they were peddling. The young heroine clearly needs to find another mentor if she means to be a decent human being as well as an artist. At one point, in referring to the chair which displayed the image of Jesus, the artist justified the chair's removal because it wasn't a healthy thing on which to fixate. "You can't idolize people like that." Wait, you can't idolize Jesus? Oh-kay… The play probably means you shouldn't worship things, like objects in which the faces of religious figures appear. But I have to admit, the whole preview left me confused. Plus, ever since the "Grilled Cheesus" episode of Glee, I have a hard time taking the face of Jesus appearing in everyday objects as seriously as I should. My bad.
This is the first preview at Fringe-For-All that caught me by surprise. The fact that the title's impenetrable and thus I knew nothing about the show made surprising me a little easier. Sometimes comedy about gay stereotypes can be lame or offensive or both. But the two performers were so likable and their attitude so winning that I found them hard to resist. And let's face it, we're all looking for reasons *not* to see a show to narrow down our impossible list of choices, right? Well, this preview would not allow me to write them off. In fact, it may have me writing them in after they started out not even being on my radar. Now that's an effective preview. Riffing on the whole "Pray Away The Gay" ex-gay ministry thing (yes, there was a Marcus Bachmann joke), they had a product with which you could spray away the gay, new Gay B Gone. It even had jokes like "Is your favorite color 'sparkle'?" and "Lesbi-honest" and I still couldn't help giggling. The stereotypical behavior examples still not resolved by Gay B Gone were piled so high that each time they said, "Can you believe we used to be gay?" I was more amused. Bonus points for spraying so much of that stuff in the air that when our host Robin reappeared she had to retreat because the anti-gay mist was still settling. I have no idea whether the rest of the show is as effective as the preview, but based on Fringe-For-All, I'm really tempted to find out.
Just like Dovetail, I'd follow Mainly Me Productions just about anywhere, too. Josh Carson and company had me and my mother laughing so hard and so often with Our Freaking Kids Show last year that we probably missed half the jokes. Highly inappropriate, rapid fire comedy is what they do best. This preview promised more of the same with Josh somehow using time travel to go back and speak to his younger self in high school. Unfortunately his younger self doesn't agree with any of the advice from the future on how to cash in on the next big thing that hasn't happened yet. So Josh has to blow his cover as a guidance counselor to browbeat his younger self into getting with the program. Just like Dovetail, Tamara, and phillip, can't wait for more. (Oh, and bonus points to Josh and his hetero lifemate Andy for flirting with my mom at last year's Fringe. She remains charmed by you both.)
(no my R key didn't get stuck, that's their name) - Oh my. I felt kind of sorry for these three ladies. They were trying very hard, but their live singing got out of sync with their pre-recorded background track of music and they didn't seem to know how to get fully back on track (no pun intended). They grinned gamely and kept plowing ahead but the whole thing never really clicked. Now if all that was deliberate, they certainly had me fooled. The scenario - three well-dressed country gals singing lilting songs with naughty lyrics - has potential, but I'm not sure it's actually as edgy as they mean it to be.
Speaking of epic, phillip andrew bennett low is another of the five returning acts from a previous Top Ten list that I'm most looking forward to this year. I envy phillip's seemingly limitless ability to bend language to his will. He also speaks it so fluidly, and relentlessly, often without seeming to stop and take a breath as often as us normal human beings do, that I'm doubly envious. It's a kick just to listen to him spin another story, or several, over the course of an hour. Always Fringe time well spent.
After Tamara Ober's offering of Flesh in last year's Fringe, her next Fringe show is something I've been waiting on with great expectation. I'd say she's one of the five returning acts this year from previous berths on my pre-Fringe Top Ten list that I'm most looking forward to. Very different from last year's showcase of multiple artists, but still featuring Tamara's controlled use of her body which is enormously compelling to watch, often downright hypnotic. Plus, the story of an epic quest that's literally life and death. Can't wait to see more. (Word from the Canadian Fringe circuit, where she took the show first this year, has been very praiseworthy, not that I'm a bit surprised.)
Playwright, Literary Director for Threshold Theater, theater arts blogger, mostly about the Minnesota Fringe Festival - other useful links for me in the header above.
