Don’t Kill Daisy at The Broadwater, created and performed by Soleil Kohl, feels like the world’s first live-action video game. The immersion begins the moment you walk through the door. Audience members are invited to select props that become part of the adventure, and Kohl incorporates these choices with astonishing improvisational skill, weaving them seamlessly into the performance with impeccable timing. This was one of the most purely fun experiences I’ve had at Fringe. Every moment feels alive, unpredictable, and collaborative. Kohl has created a show where the audience isn’t simply watching—they’re helping shape the world in real time.
What impressed me most was Kohl’s ability to transform the simplest audience contribution into something meaningful. At one point, I tossed a small stuffed prop into the mix, and within moments it had become the centerpiece of an entire world, complete with its own mythology and monologue. The same imaginative alchemy happened again and again throughout the show. Don’t Kill Daisy is a remarkable display of creativity, improvisation, and audience engagement. Unforgettable, delightfully weird, and unlike anything else at Fringe. I can’t wait to see what Soleil Kohl creates next.
Little Chaos
Little Chaos at Cat’s Crawl is one of my top ten Fringe shows this year. I was completely blown away. The production unfolds like a dream—fluid, surreal, and emotionally resonant in a way that’s difficult to describe but impossible to forget. At its heart, the show feels like an exploration of what modern dating does to the soul. Rather than telling a straightforward story, it creates a theatrical language of feeling, transforming emotion into movement, image, sound, and space. The production makes masterful use of every inch of the stage, and Cat’s Crawl proves to be the perfect venue for its intimate yet expansive vision. Watching it felt like stepping inside a moving painting—each scene flowing seamlessly into the next, creating an experience that is felt as much as it is understood. The ensemble is flawless, executing every moment with precision, commitment, and remarkable chemistry. For longtime Fringers, the closest comparison I can make is the feeling I had seeing Mandy Rubeli’s Dinosaurs for the first time in 2023: that rare sensation of discovering something wholly original, deeply personal, and unmistakably special.
30 April 1975: How We Left
A concise, 30-minute play detailing the resilience of leaving a war-torn Vietnam, Vivi Thai does a great job in presenting her deeply personal story, allowing use to feel through by images and documents, personal accounts. Vivid stories and images that remind us of the horrors of war. Important, intimate, and lessons that will stay with us long after the show ends. I know Vivi will continually work on this and I can’t wait to see how it will develop.
I must say, I haven’t laughed this hard in so long. Frank Sirracha, Club Clown, and Lord of the Rings really did great.
Disco Therapy by Liza Dealey-Thomason at The Brodwater, Second Stage
Disco Therapy by Liza Dealey-Thomason is a magical and unforgettable experience at the Hollywood Fringe Festival. The production describes itself as “a high-energy immersive cabaret blending live disco covers, comedy, storytelling, and audience participation into one unforgettable group therapy session,” and it absolutely delivers on that promise.
As a longtime admirer of Liza’s work, I couldn’t help but see Disco Therapy as a spiritual successor to her award-winning show Supernova. The piece beautifully demonstrates something I have long believed in art’s capacity to heal. In fact, the healing power of art was the focus of my master’s thesis, and witnessing an artist not just talk about healing but actively create it in real time felt genuinely moving.
Liza is a captivating performer, bringing warmth, authenticity, and remarkable presence to every moment. Even during preview-performance technical hiccups, she remained fully engaged with the audience, transforming potential disruptions into opportunities for connection. Her ability to invite audience members into the experience while carefully managing the show’s rhythm and pacing is impressive.
Part cabaret, part communal celebration, and part emotional release, Disco Therapy creates a space where joy, vulnerability, and play coexist. It’s a memorable, uplifting, and surprisingly healing theatrical experience that lingers long after the music ends. Highly recommended.
Meet the Robinsons at The Broadwater, Main Stage:
Annika Hoseth’s Meet the Robinsons: The Unoffical Musical Parody has everything you could want in a great musical. While adapted from the beloved 2007 film Meet the Robinsons, the production confidently establishes its own identity, bringing fresh ideas and original creative touches to the material. Though billed as a “musical parody,” it transcends that label, becoming a fully realized work that stands on its own merits.
The show is impressively well-structured, filled with heart, memorable music, and dynamic choreography that keeps the energy high throughout. One of its greatest strengths is its characterization. The cast manages to capture the exaggerated, cartoon-like spirit of the original film while creating characters who feel relatable, emotionally grounded, and genuinely developed. Each character is given room to grow, resulting in satisfying arcs that resonate with the audience.
Funny, heartfelt, imaginative, and bursting with creativity, Meet the Robinsons is a memorable ensemble piece that demonstrates the best of what the Hollywood Fringe Festival has to offer.
The Delulu Diaries at The Stephanie Feury Theater
Lucy Isaula stretches a fantasy premise into what becomes a raw, honest, comedic, and ultimately heartbreaking experience. The Delulu Diaries follows an unnamed woman whose apartment is broken into in the middle of the night, forcing her to confront not only a faceless intruder but also the stories and delusions she has built around herself. Through humor and vulnerability, Isaula explores struggles familiar to many young adults who find themselves carrying burdens they are not quite ready to face.
Isaula delivers a committed and engaging performance, balancing comedy and pain with sincerity. The Delulu Diaries is an ambitious piece that invites audiences into the messy, nonlinear process of confronting loss, identity, and the stories we tell ourselves to survive. While the structure occasionally feels fragmented, and several blackouts toward the end interrupt the momentum, those choices also reinforce the protagonist’s fractured state of mind.
Frank Sriracha: Home Is Where The Stage Is at The Broadwater, Black Box
I think I just saw the funniest show in all of Fringe. Myself and the audience could not stop laughing for one moment. I’m laughing even reading the show description online. Max Charbonneau fully commits to the character’s ego, desperation, and unpredictability, taking theatrical risks that feel genuinely surprising. Hilarious satire of celebrity, self-importance, and the desperate need to be loved by an audience.
If you’re looking for a show that will leave your face hurting from laughter, Frank Sriracha’s Lifetime Achievement Award ceremony is an easy recommendation. One of the standout comedy experiences of the Fringe, it’s fearless, ridiculous, and unforgettable.
Club Clown at The Broadwater, Mainstage
The hottest, most exclusive nightclub in all of Fringe. A masterclass of clown work with top tier performers that will remind you how thrilling live comedy can be. This late-night showcase gathers an impressive lineup of clown performers, each bringing a uniquely bizarre, inventive, and unforgettable character to the stage. The show has an edge to it, embracing the weird, the unexpected, and the delightfully uncomfortable in ways that make live comedy feel exciting and unpredictable. Hosted by the endlessly charismatic William Thomas McFadden, the evening never loses momentum. Based on the schedule, the cast is rotating, but I can trust that each performer knows what they are doing.
The Council of Elrond: The Lord of the Rings: The Fellowship of the Ring: Extended Editon: Part 4 at The Broadwater, Black Box
A masterclass of directing film. No, a masterclass of comedy. Come revisit the making of The Lord of the Rings, with Peter Jackson and his cinematographer, with the onset conflicts that you will witness. As absurd as it sounds, yes. An excellent late night show Nonstop laughs, top tier comedy. These actors are all hilarious in how much they commit into their roles. A perfect comedy complete with majestic set props and technical effects.
And What of the Children is a show of epic proportions, written and directed by Ryan Lisman and a cast of 18 (actors), running at 2 hours and 35 minutes (plus 10 minute intermission). It is “completely rewritten” Ryan has stated, but the themes of loyalty, intergenerational trauma remain the same. The play follows 3 siblings living under witness protection, when one’s identity is unfolded through their OnlyFans video being released. As I watched the show, I thought, “Oh, an interesting commentary on Only Fans.” But no, a twist. Lisman always surprises me! And another twist – a classic Ryan Lisman production. There is not much I want to say about the show because it’s one where you want to go in knowing nothing.
We enter the space, with ensemble members dressed in all black, muttering words from the cult. Does a good job in setting the space. But, I think, because the show is so big, that the little details become too much. The play takes place over a period of time. Ryan really worked hard to put together this show and it’s not an easy feat to get the audience to care. There are a few separate storylines, all that are related. The performers are terrific! I really loved how Thomas McNamara steals the show, creepy and gripping throughout the show. The set is pretty minimal, keeping the focus on the storyline.
First act starts out strong, engaging the audience to these character’s heightened dilemma. But the second half spiraled into something different all together. My opinion is that there were too many storylines to fit. A conversation with a friend allowed me to realize the lack of subtext in this show, and the lack of subtext within theater in general these days. I wonder if it has become too hard to produce shows with a lot of subtext, are actors not interested in playing roles that are not intense? It’s raw, and in our face, which is… a style, but it creates an alienation effect from the audience. A lot of telling howw you feal rather than speaking. The play asks if people can truly escape their past. “Ambitious!” “Solid play!” “Worth checking out!”
I saw this show recently… I saw it during the Fringe Festival. At the same space, that is. In fact, the last show I saw was a Ryan Lisman show; I really need to broaden my horizon. Again, all these reviews are my personal opinion. As I was driving to this show, fearing that World War 3 was about to begin at any moment, I asked, why this show? Maybe it’s just bad timing — for the world to be potentially ending. Another note is that this psychological, horror-like play does not fit the day-time showing (for Saturday/Sunday performance).
There are two more weekends. Try to catch a Saturday/Sunday afternoon performance, as it is pay what you like ($12-$24) *Not removing the review
Ryan Lisman put together scenes from different original shows written by Catharsis Company members and it came out very well. I commend that all of these artists had something to say and put in hard work to produce their pieces. The project as a whole was very smooth and had good pacing, had strong pieces throughout. There were minimal sets but small set pieces that were easy to transfer; I blinked my eyes and a new show was up. Without further ado, let me get into the shows.
Fight Like Hell by Christian Levatino is a compelling opener and I loved every minute of it! It follows the story of January 6 rioters who are coming to insight mid-riot, hiding in one of the Capitol’s historic rooms. I am reminded of the masterpiece show by Rogue Ensemble, about the Pulse night club in Florida, real events dramatized. The play combines historic fiction with thriller-esque moments, blending historical events with heightened theatrical storytelling. The actors are all intense and the plot is gripping, watching these characters fall from grace, losing their moral high ground. Could have used more sound effects, I thought, but still, would be an awesome full production.
Blame It On The Raisin by Heidi Appe was about a lady who domesticated a lady bug. Good laughs here, absurdity to the extreme. If there was some deeper meaning, I didn’t catch it. I thought the actors could have been louder.
I have seen many iterations of SubUrban Limbo by Travyz Santos Gatz and this one got it just right! The play follows the lead Preston, post-rampage, trying to figure out his next steps. The writing by Travis Santos Gatz is really good, with philosophical themes that leave you thinking long after you have left the theater. I would say the direction by Olivia Greer Gulden is very focused and puts a different perspective on the story, ultimately blending different storylines together. Audience members were heard gasping, laughing, commenting “So good” right after the performance. I put a star next to Tharun Dulla’s name for an outstanding performance as Gino. He walked on stage and pulled in laughs for his stoic humor and endless banter. Other performers, including Sam Zukin, Isabella Costa, Jennifer Donovan did great too, adding different flavors to the production.
Infidel by David Neipris explores the tension between artistic integrity and the business reality of the arts Some really good writing by David Neipris with rich characters and backstories. It really does feel like a good chunk of a bigger idea, I’m excited to see where this one goes.
Angst is a clever production that follows one writer’s inner battle of his own imposter syndrome. Spencer Weitzel plays Anyone and Theo Fay plays Angst, both dressed very similar that makes it easy to know they are the same person. This iteration can be done with plenty of universal emotions, and stay easy to follow. Their energetic performances keep the audience entertained as they smoothly break the fourth wall at times.
Schizm by Ryan Lisman was the final production. A family drama, set during a dinner where chaos erupts. Individual secrets come out, changes that cannot go unnoticed. Excited for the full production in March.
Weekend 1 of the 30 Minutes or Less Fest is over at The Stephanie Feury Theater and some great work has been produced, which might have other showings next week. I want to write little blurbs for each show with the hopes that it may pique your interest. I don’t think I will be returning until this coming Thursday. Mind you, I go into these shows knowing nothing. I probably know a few actors. Very grateful to Matthew Quinn and Bertha Rodriguez for setting this up. (Submitting this without reading through because I want to meet my deadline — if I have misgendered anyone, or spelled names incorrectly, or told lies, please do tell me so that I can edit; and happy to do so).
I Wrote You A Play/Letter From The Grave performed by Jo Dellapina and Jeff Dinnell had its premiere at The 30 Minutes or Less Festival; two separate one act scenes. Nicely written show. Energetic performances. It appeared experimental, like scenes that had grown from a workshop or class. Matthew Kamm’s “Letter From The Grave” had themes of grief and recovery; characters with history and backstory. So I was a bit confused as to why the second scene started at a bar, but turns out they were unrelated. Heard an audience member laugh and say “I could relate” to the first act. Minimalist production with a lot of heart.
Gilded Spindle is the ambitious and imaginative project by Wyndwolf Puppets which had its premiere at the 30 Minutes or Less Festival at The Stephanie Fuery Theater. The production moved at a fast pace, quickly establishing its medieval world through a series of short and intense stylized scenes. Rapid transitions and frequent blackouts, with the focus on storytelling and visual experiments. I enjoyed watching Adam Frost-Venrick as the king, who brought a commanding yet comedic presence. Zander Raphael did a great job as the puppeteer, watching them move the puppet felt like watching Andy Serkis create Gollum/Smeagol.
Momma! I burnt the chicken! Had its sold out premiere and clearly resonated with the audience. A warm, hilarious, and deeply personal production that will stand out as one of the most engaging and comedic shows of the festival. The set transported us back to the 1990s with the sounds of 90s commercials playing from the TV; the audience even joyfully sang along to the Toys R Us theme song. Nina Childs was so free on the stage, commands with ease and authenticity, and we enjoyed every moment of it. A simple concept that takes the public persona of a churchgoing woman into her private home with her unguarded self, capturing something both specific and universal for a memorable theatrical experience.
I feel like I have seen Against All Odds before, but really I remember seeing Larry Meyers at the Hollywood Fringe Festival for his show, “Did I Just Join A Cult?” Both shows were similar in style and extraordinarily entertaining! He sits at a table with a script nearby by and just tells stories. Philosophical, mind bending, awakening describes it. Themes of synchronicity and the magic of story. It made me sad that the audience wasn’t filled, I hope more people get to see this wonderful work.
Pinky Jones’s solo piece Looking For Backup is her personal parallel journeys of becoming a real estate agent and an actor. This show is a work in progress, as Jones could be seen holding up her script, but I admire how she wasn’t afraid to be nervous. Yes, Pinky shined on stage as we could see the sweat dripping down her neck but it was real and genuine and all we could ask for on stage. These types of stories are healing for both the performer and the audience member.
Mr. Big did a staged reading last year, at this festival, and also had a run at the Hollywood Fringe Festival over summer; this production gets better every time. Based on a story by Woody Allen, the play is adapted to the stage by Brian Knudson I really like the charm and charisma of both performers. Sue Gisser was wonderful with the multiple characters she played. A thoughtful script, a smorgasbord of philosophy; this time opened with an intro by Tuba Heatherton Groucho Marx.
I don’t know how Spencer Frankenberger has time to do a show as he is doing tech for just about every show but he managed to put a cohesive show together, Blow The Man Down: A Sea Shanty Concert is the story of seven sailors adrift at sea. The characters, music, and design fit those of pirate-inspired world. I liked how the concert played like a concept album, with the narrative unfolding through song. One singer had an exceptionally strong voice which added an extra layer to the character dynamics.
Experience Taught Me Nothing by Christine Blackburn is another personal storyteller show, warmly supported by the audience. Blackburn tells the story of taking a bold and risky leap; how she took out her retirement funds to produce her partner’s theater production. It was a rough production, I assumed, as Christine was still holding up her script; underscoring the honesty and rawness of the piece. Her delivery is confident and compelling, and she forms a genuine connection with the audience. She goes over the hurdles of producing and managing a relationship at the same time, with humor and candor.
The Miraculous V: The Bizarre Awakening of a Virgin Witch is a spell-binding one-person show, blending autobiography, trauma, and fantasy. Shara Kirby introduces herself with a playful, charming persona but does not let the darkness stay out of sight. It is a fun, surprising show, but also one that might make you squirm. It asks the audience to sit with discomfort as much as delight I need not say more other than SEE THIS SHOW. This is a show that will win the hearts of audiences through, laughs and tears, and will stay with us long after the lights have gone down.
Kittens In Space was a fun, experimental, and comedic piece; one that won the audience laughs through absurdity and physical humor. Themes include talking animals, random encounters, drug trips, and time bending – a wild combo. The creators of this show did a great job in creating the play’s world. A fun, entertaining piece
Autastic is a Jeff Ahern’s deeply personal journey of finding out his son is autistic. A ver raw, honest, and profoundly heartfelt show. Whereas other one-person shows had scripts (in hand) this was simply Jeff recounting stories of his son, creating an immediate, genuine connection with the audience. Jeff holds back tears as a slide show of photographs brings up different memories, allowing for emotion to speak for itself. Perhaps one of my favorite shows this season, touching and resonates long after it ends.
What a stellar performance by Shelley Cooper in her show, Emily F—ing Dickinson: America’s Favorite Recluse, a tour-de-force performance! Emily is up on stage, even before the show begins, making us laugh as the theater rolls through its announcements. She gives us a stunning portrait of two extremes, moving seamlessly between ecstatic mania and rock-bottom depression. In this show, Shelley becomes the character, speaking to the audience from her reclusive state while remaining fully present. The performer’s range is astonishing, particularly being able to blend comedy into her darkest moments.
Two short one acts by the same team, The End & Fast Moving Consumer Goods that balance comedy with surprisingly heartfelt themes. The first play took a moment to establish context, but it carried well with wit and charm. The End was about a woman who fell and hit her head and was now meeting face-to-face with Death as they try to figure out her fate. The second play, Fast Moving Consumer Goods begins with a call with the suicide hotline that quickly veers into unexpected hilarity. Both offer fresh takes on heavy subjects with the message that human connection is all we need.
Hooligani was a gripping, fun portrait of a cold-hearted criminal. Vennessa Verdugo transforms herself Tetyana, a Russian madame with a family empire, willing to tell all for a better sentence. As I clutched my seat, I had to remind myself that this is only a show, a character. The show is filled with imagery and comedic breaks. Verdugo creates different impressions through the stories she tells and entertains exceptionally. Excited to see how this show will grow, or if Vennessa has more characters to bring to life.
An interesting concept for Heartbreak Feels Good (In A Place Like This) and I had no idea what kind of a show I was stepping into based on the poster. But we have all heard that saying before, yes, its is from Nicole Kidman’s AMC Intro Video. Levani Ko presents us with preparation for his upcoming audition to replace Nicole Kidman and uses her script to create the show. They know their audience well (mostly actors) and proceed to take suggestions on how to best prepare for the audition and will Yes-And anything the audience desires! I have no idea if they can actually breakdance, but they committed entirely! They worked with the audience to interpret and analyze each word of Kidman’s monologue. This was a fun experience and next show will be entirely different, so I don’t feel bad for any spoilers. Go see this one for a fun time!
I left Bad Medicine by Adam Frost-Venrick so disturbed that I couldn’t write about it, but it was so damn good and hilarious! He plays a doctor, no, a Juris Doctor, wait, I mean he got an online certificate or something of that nature to be able to commit to his experiments. And boy, does he take us on a ride. I almost through up, but was it cause of the copious amounts of laughter? You will have to find out for yourself…. RECOMMENDED
I’m back to reviewing, or so //i hope. Been a little burnt out from the 68 shows I reviewed in June at HFF. Bear with me. It’s tough typing with a disabled hand. I can write about my own journey too, ya know. It’s been a tough past month. Thanks for reading.
I have been wanting to see Paranormal Activity on stage for quite some time now, and it is the first thing I’m doing thing since my recent injury. Thanks to Black Friday tickets. I was a big fan of the hit movie in 2009 and had a big expectations. Horror on stage is risky, as in it might not hit, but this show strategically found good moments and fit the music in at the right spots. Sitting back row at a big theater did not help. I spent the first quarter thinking about how lonely I was in the auditorium. There were two people I tried to talk to, but nothing came of it. First quarter of the show is very long, draining. Ordinary couple, with unanswered questions. It kind of seemed two dimensional. Performances were standard, these characters had nothing extraordinary about them – It seemed. Lou deals with depression and hid it well. It is a play about the shadow, un dealt with life that seeps up to the surface. Cher Álvarez does a great job in flipping her shadow switch on and off, Patrick Heusinger plays straight man until the character can no longer hold it together, and has us hold him till the very end. Both actors do a good job with mediating the supernatural and real life. The theater magic Surprises us at the right times. All in all, I will say the show starts out pretty slow, but once the suspence begins, you will be jumping out of your seats. It is not a straight up adaptation of the movie, but a similar concept.
Wow, this show blew me away! It had the heart and soul of Fringe in it, a strong message with excellent story and not too complicated design. Had to cry in my car before congratulating the writer; one of the few shows that made me cry. Expertly written (and performed) characters who have both conscious and unconscious goals that develop throughout the story. Historical fiction that bites into our soul, with no unneeded emphasis on sexuality. Shows the dualities of a woman’s experience living within a man’s world. This show has strong roots, and I can’t wait to see how it develops. One of my Fringe favorites.
Magnet of Chaos at The Broadwater
Sarah Lazarus is one of a kind! Sarah takes us on an interdimensional journey with Jennifer Coolidge and Bernie Sanders, both voiced by her, to find her own trauma. This piece was incredibly fun, super funny, and tackles raunchy themes.
The Eddies and the Pypers at Actors Company
Powerful show about death and grief, a strong subject for the stage. One of the few shows I have seen that made me cry. Very strong acting with an excellent supporting cast. Nice direction and good use of the stage. Because this was originally written for the screen (as stated in the program), I wanted to hate this but couldn’t – the story was excellent and philosophical in nature. It felt very written for the screen. Short scenes and quick blackouts. The audience would clap after every blackout even if it was just a transition scene.
Beth Wants the D at The Broadwater
An incredible one person show on mental health. Beth starts the show off an an audience member for a production of Dog Hamlet and jumps on stage due to her compulsive thoughts. She takes us down the rabbit hole of those thoughts, mixes them with mental health, and educates us about the journey of mania and depression which leads to her diagnosis. Even though the subject matter can be tough, she keeps the show fun with her one of a kind, comedic personality. A truly inspiring and insightful story.
This show is hilarious and good fun! Husky Whispers and Goof make me feel like I’m watching a live performance of young Weird Al Yankovic, as he made bops to fast food items. There were short character building moments between songs but the main exhibit is a concert. It is a good show to go with a group of friends, and makes for a very unique theater experience. I liked the songs and the commitment to singing them. Husky Whispers looked as if he was about to pass out in the middle, due to his off-stage behaviors, and the audience riled up laughing as he pushed through the show. Good chemistry between Husky and Goof, and the other instrumentalists appear as if they are noticing strange things going on for the first time but remain fully committed to giving an authentic musical experience. First and foremost, I thought the audience could have been better. I heard laughing but I seemed to be the only one rocking out at my seat; for crying out loud it’s a music show!. Jokes aside, there is so much to explore here and I wish we got more than just a snippet of these characters. There seemed to be so much subtext that was portrayed well, but also left unanswered. I can’t wait to see what Riley and Cole have planned for these characters.
Alan-CaDabra! at The Broadwater
Alan Giles begins the show with a hilarious video of him as a child, performing a magic show for his family; he has come to the Hollywood Fringe Festival for his redemption, to complete his failed magical act. In the show he also interludes with 5 different sketch characters. Alan stays charismatic and funny throughout the show and works well with the audience, at times allowing for an interactive experience. I enjoyed this show very much and we were entertained throughout, with a great finale. Fun concept! I liked how Alan combined different passions into one show, and was able to tie them all together. The personal video was a nice touch and his interactions with audience were excellent. The structure of the show was explained to us at the top, but it also just did not make much sense until the end. I found myself not connecting to the sketch characters as much because I was focused on the magic storyline.
Oops! at The Broadwater
Olivia is an engaging and exemplary performer and the show will have you laughing nonstop! Through fun stories and hot gossip, Olivia comes to an understanding of who she is and how she finds her purpose within her network. She does not focus on one memory, but keeps the story exciting as she finds different patterns throughout her lifetime. This show allows us to feel like we have discoveries at the same time as her, through her exciting tone. There is not a moment of dullness, of confusion, because Olivia is so quick witted and entertaining that you are fully immersed in her storytelling. I liked Olivia’s style and how she brings authenticity to the stage. Olivia is truly a top tier performer. She goes in and out of different characters and has set pieces to keep us engaged.
Scheele’s Green at The Brroadwater
Really fun sketches, one’s that we can mostly relate to. Both actors play a variety of characters and the script is so funny. A fun show! I liked the first sketch the most. Each sketch had a voice of reason, mostly played by Adam, and an eccentric character, mostly played by Connor; yet the two switched off on different roles. They were fun experiments. I just personally don’t connect to sketch. Going to think more on this review, I’m going to sleep now.
I loved this show! Abi gives us charm and confidence, and a range of feelings throughout this short and personal production. In retrospect, this is the kind of show that will change someone’s outlook on the world, as it engages the viewer to peak behind the masks we wear daily. The play starts inside of her scattered mind and changes pace as reality sets in. This show is powerful and raw, the emotional effect pulls you at your seat. Witty writing with smooth transitions. Abi gives a poignant and memorable performance. Abi made a good choice to perform at an intimate studio space. I noticed how well-rehearsed this show is, which is not uncommon in one person shows. At one point someone opened the door and peaked into the studio, and the moment slipped away and the show went on. Did the energy of the room shift a little or was that just me? What happened to the performer at that moment? I guess that is not something actors think about while preparing a show, but how does one stay in character when something like that happens? Maybe I’m overthinking this point.
A Minor Inconvenience at Actors Company
Two lives, parallel experiences of a cultural shift and coming of age. A show by younger artists, what appears to be personal stories. These two leads have a great voice. I respect the vulnerability that these young artists put into their work and for putting up a show at the Fringe Festival. A musical but the music was too loud. One actor seemed to be having fun, laughing off her mistakes, the rest were too serious. I wish the ensemble was utilized a bit more. The set is minimal, lights are used as spotlights.
Nyx: The Girl Born To Chaos at Actors Company
Very entertaining and enjoyable show! Fun and disturbing, if you’re into that. The show is better than comic book movies, it is a live comic, a surreal experience. I like too that it is short (30 minutes), as it lets the images punch in much harder. The show is graphic, in that there is action and blood, and it is all done very professionally with tremendous choreography. The show is not an origin story, yet there are many possibilities to explore more.
My Tiger at The Broadwater Mainstage
An honest and unique approach to storytelling. Dionysus took the concept of a one-man show to another level with this project. In this production, Didi tells us of the experience of growing up as a mixed race boy in the U.S in the early 1990s and how that shapes him to who he is today. Throughout the show, he comes out to share context, pieces from a memory, and then has actors live them out through a series of vignettes. This is an insightful and enjoyable show. I love the concept, and think the writer is creating an awareness to different types of storytelling. I love how culture plays a central role in this production, and we get to experience different periods in the writer’s life along with different characters. I am not sure if this project needed to be done on main stage, due to the minimalism, but it worked. The transitions often felt repetitive, black outs between monologue and vignette. It is not my job to give notes, but I wondered what it would be like if the speaker was sitting on stage watching his story with us.
Termination Fee at The Broadwater
This is an experimental, existential dark comedy that gets in laughs and thought provoking ideas. The show follows Neal who is let go of his job and wonders how he can continue to support his partner. They trivialize different ideas and it makes us, the audience, question what happiness truly means. The actors were great in their deadpan humor, but it made me wonder about the seriousness of the subject. This feels as though it were written for film, though I have no issue with it being on staage for experimentation.
Saturdays at 10 AM at Eastwood PAC
A genuine, heartwarming, and enjoyable musical that surpasses any expectation of what a Fringe musical would look like! This is a top tier production through the performances which were all filled with great energy, a plot that had good structure, and hilarious, laugh out loud moments. I believe all of the actors used live singing, except for one, which was a satirical character in nature. The energy of the production is so great and every actor gave life to their characters, making each moment purposeful. I will say that these characters are goofy in nature and it was a bit tough to connect to their emotional drives, but it was still a fun watch. The actors professionally dealt with any technical difficulties, such as set pieces falling on the ground or microphones creating noises. The show did go slightly overtime, but fortunately I made it to my Uber so that I can make my 7th show of the day. I sat in the front, and as I turned my head to see how the audience was enjoying, I perceived their bodies as still; they not bopping their heads or clapping their hands to the music. So to answer the question of what could be improved – maybe the audience can act like they are having a good time too. Just kidding, it’s a great show.
Oh Constantine! at The Zephyr Theater
This is one of the funniest projects you will see in all of Fringe! It felt great to laugh out loud every few lines. Oh Constantine! is surrealism, satire, and absurdism all in one. The performances are fantastic and the plot is silly but cohesive and good. The production is filled with elaborate costume and set design, and takes its comedy so seriously that you cannot help but laugh at (with) the satire. I liked the Standout performances! Each actor takes their role so seriously which adds to the humor; different characters that give different flavors. I loved the interactive nature of this piece, how characters worked with the audience to help move the plot along.
Really fun and insightful show! Daniel Shar reviews his career as a comedian turned porn extra. You might come see it for the sex part, but this show is about the need for human connection. Daniel Shar takes us on the wild ride of his career and shows us (yes) the highs and lows, in his journey. This is a well-structured one-man show that separates itself from stand-up comedy. I definitely recommend this show for the entertainment, the curiosity, and the laughs. Incredible marketing, with the condom program, and the vibes were spot on as we entered the show with hip hop music playing and Daniel’s photo on the projector. Daniel began the show a bit nervous, it seemed, as he appeared to be shaking while holding the dildo microphone, but it was endearing and allowed his confidence to grow throughout the show. Shar sprinkles in humor constantly and knows what he brings to the stage. He gets personal and stays funny thrpugh the dark times. I loved the transitions, how he made it so unique to fit his presence (writing vague; don’t want to spoil the humor). I guess at one point I was confused, thinking the dog was the romantic partner – but I understand that was his way of respecting privacy.
This Is Water and The Broadwater
This Is Water is award winning musician Rain Perry’s retelling of her history growing up in California as a white woman and being aware of the effects of segregation laws. The plot follows as she sits down to write her album and shuffles through her own lineage. On stage she is seated at a desk with boxes of pages behind her, a laptop which projects her research onto the backdrop, and a personal assistant who helps with organization. The action takes place during the pandemic, as she reminisces on her parents who had been cheering on Barack Obama before his election and is currently seeing the effects of the Black Lives Matter protests nationwide. This show is highly relevant for our time, with the ICE raids going on as we speak, and Perry’s experience will resonate with a large audience. “All big social issues are told through a personal story, I wanted to challenge myself to hold myself accountable onstage and hope audiences will do the same.” she writes. I did come in a few minutes late, so I must have missed the introduction. I was a bit confused as to if this show is a work in progress, as she sat on stage with a script, but then realized how that is a piece of the production itself. With others on stage with her, musicians and the assistant, I wondered why she chose not to interact with them as much.
Bathroom Diaries at The Broadwater
I came in not knowing much and appreciate the honesty and vulnerability Christina shares on stage with us; powerful, personal, and an important story to be told. The show follows an only child’s struggles with a bladder condition that later manifests into an eating disorder and alcoholism. Christina sprinkles humor into even her darkest moments, keeping the audience engaged through the different characters she plays.I enjoy seeing personal shows as they can give the viewers a visceral sense of hope. Christina keeps the show’s energy high from the top of the show until the end, and keeps us laughing throughout.I wish more time was spent on the realizations Christina had throughout her journey, what it was like to come to terms with the internal struggles she faced. What was the Belly of the Whale she faced which called for her rebirth? I wondered. It was redeeming that she found love, but I was left with some questions.
Romeo and Juliet in 60 Minutes at The Mcadden Theater
Very enjoyable experience with fantastic performances and good direction! I came into this wanting to dislike it, thinking Shakespeare deserves months if not years of study, yet whatever Colleen has crafted should be shared with more performers and lovers of theater. I came in with the lens of “This group only had a few days to put this together” but whatever predetermined belief I had was surpassed. I liked the quick nature of this style; Shakespeare wrote no subtext and the actors performed it in such a way that was easy to understand. I liked the fight choreography and how all parts of the stage was used. I really wish Mercutio’s Queen Mab monologue made the cut.
Venus in Fur at The Broadwater Mainstage
One of the best shows I have seen all year! The play is about a casting session that intertwines with the personal lives of these characters, juggling with themes of gender, power, and desire. The play runs 90 minutes and not a moment is dull. The play is full of dynamic chemistry, boundaries being blurred, and control being pulled in many directions. Phenomenal performances, a show that looks ready for a professional run. Bryan McKinley as Thomas and Rachael Meyers as Vanda, both give masterful performances. I like how the actors both play with power so well. The physical intimacy on stage is so thoughtfully precise. Lighting shifted the mood as well and the set had many layers to it. There is nothing I did not like in the show itself, but our show went a little overtime. I missed the uber to my next show and only got to see 5 shows today. Maybe that is just a testament into how we, as audience members, fall into doing whatever we are told; a theme in the show.
Stage Takes 