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.
Seen this at 30 Minutes or Less Fest and I think it’s too important to miss! Diaz shows us what society wants from the “Perfect Woman” and how harmful that can be to everyone. Sharp, concise, and full of heart; awakens us to our own humanity in a 30 minute show. Diaz does a good job connecting with the audience, rather than lecturing us, finding ways to include each of us in same way. Too short, ends too quickly. I want more!
On The Line at The Broadwater
Writer/director Pam Eberhardt and Dan Testa return to the Fringe Festival with a tense, psychological thriller about crisis counselors working the overnight shift. I first heard about this show as I saw audience members walking out of the theater, after the show had ended, remarking, “That show was so good… intense!” And I cannot help but agree! The show is more about the relationships within the center, the unfolding of character, than the crises they work on. With chilling performances and a strong script, these actors do a good job at getting into each other’s skins.
Early Day at Actor’s Company
Powerful, intense subjects. Follows a therapist and how they take care of themselves outside of the office. Feels like a few different episodes, on the different lives of Therapist’s clients and their lives outside. Poignant moments with touching scenes. Actors were too young. Passionate piece. Not my cup of tea.
Husky Whispers: Baked Alaska at The Broadwater
Riley Smith and Cole Cuomo bring the band, made up of Husky and Whispers back to the Hollywood Fringe, and keep us entertained for a fascinating late night show! The show is full of musical acts with comedic breaks, in the unique tons of these original characters. An unforgettable storytelling and musical experience that is full of songs that you will be humming along to on your way home! Could almost feel the ground shake through their voices.
Day 7 was the opening night party. There were probably two shows that happened beforehand. But I can’t see everything. Saw four shows today.
Therapist Zero at the Hudson Theaters
I saw this based on Ernest’s review. It’s a good one. It’s a clear, poignant, and focused piece that explores the complexities of parenting, trauma, and personal growth. Brian Leonard takes us on his journey as a father navigating his daughter’s behavioral challenges, recounting a seemingly endless procession of therapists—from therapist number zero to therapist twenty-something—in search of answers. Along the way, he reflects on his own childhood experiences and the conscious effort required to break cycles of generational trauma rather than pass them on. What makes this show so compelling is its humanity. Leonard approaches difficult subjects with honesty, vulnerability, and just the right amount of humor. While therapists and mental health professionals will certainly appreciate its insights, the story speaks to anyone who has struggled, healed, or tried to become a better version of themselves. Thoughtful, relatable, and deeply human, this is a straightforward yet affecting piece.
What Survives at The Broadwater
I got the invite from Rachel Meyers who I view as one of the greatest actors I have seen perform live. TThe show is composed of a series of powerful, tightly crafted vignettes, each offering a different glimpse into the American nightmare many people are living through today. I have seen this style of political theater done before, but I think this raises the ceiling for me, better than I have seen it done before. Every performance is precise and deeply felt, with each actor fully embodying the emotional and environmental pressures weighing on their character.
I wonder why the director chose to have actors seated on the side of the stage as a scene went on. I could see some tune into the show, others preparing to get into character. But it also felt poetic, in that the general population watches as people go through their struggles, sometimes without a care.
Jimi Darkness: Alcoholic Superhero at Three Clubs
Someone on Facebook said, “I just got out of the best show I’ve ever seen, Jimi Darkness” and that was all I knew going into this show. In the theater, I asked fellow audience members how they heard about this show, and they all say they know James. By the end of the performance, I understood why they had shown up and cheered on every song.
Jimi Darkness is unlike anything I’ve seen before: a darkly funny, emotionally devastating musical that blends rock, gospel, and traditional musical theater into something wholly original. The story follows Jimi, a struggling musician and vigilante superhero whose powers are fueled by alcohol. As he begins attending AA meetings and confronting his addiction, he finds himself trapped between the fantasy of saving the world and the reality that he can no longer save himself.
It is a musical with more soul and pain than I have ever seen in a musical! The story follows Jimi, who is new to the world of Alcoholics Anonymous and continues to try to live his double life as a vigilante superhero. It is brilliant, one of a kind, a blend of rock, gospel, and musical theater. These actors really did their research and fully portray the struggle of addiction.
The music is powerful, the concept is brilliant, and the execution is fearless. Equal parts rock opera, superhero story, recovery narrative, and dark comedy, Jimi Darkness is truly one of a kind. It’s the rare Fringe show that feels both wildly entertaining and deeply meaningful, leaving you humming the songs while reflecting on the cost of the battles we fight within ourselves.
So I don’t lose momentum – this is going in Top Ten
The Lord of the Rings: The Council of Elrond: Part 4
I saw this show twice because I enjoy it so much. That should be descriptive enough for you to go see it yourself.
Trust the title of the show, Aidan Flynn spends the show trying to convince us why he should be famous. The show is filled with gags and bits, some that include audience participation. What makes the show work is the commitment to the character. Having met Flynn outside of the performance, it’s clear that the exaggerated ego on display is a carefully crafted creation. And yes, you leave with a signed headshot.
A musical based on what is ranked one of the best worst films of all time. The intro jokes around about how bad it is and then we are transported to a town of 20 people, Nilbog! The cast fills the stage with larger-than-life characters, ridiculous plot twists, and a constant stream of laughs. It began as an immersive experience and the actors managed to utilize the stage as well as the entire space around, infecting the audience with fun energy. An outrageously fun night of theater that fully commits to the madness. I had an absolute blast. (I will say here that it felt too long, at 90 minutes).
A play that follows the relationship between comic book writers/artists Stan Lee and Jack Kirby, and how ego gets in the way; a battle of ownership, historical fiction at its finest. An immensely interesting story that intertwines history through the environment and behavior of characters, looping in and out of different time periods. Excellent performances from Lief Gantvort (Stan Lee), Reid Emmons (Steve Ditko), and Bryan McKinley (Jack Kirby) who play the titular characters, with nuance and intelligence. Each character is so complex, humanely written, and integral to the story. Incredible acting, expert writing, detailing two different perspectives in one timeline. A simple set that has detail. A rare find at the Hollywood Fringe Festival; nearly ready for a professional run.
Them’s The Shakes: Life, Love, and Parkinson’s at Actor’s Company
Had no idea what I was about to see but am incredibly grateful to have witnessed Jeremy Moody’s story. A hidden gem of the Hollywood Fringe Festival, a rare experience of truth on stage. I could not tell if it is dark comedy, or light-hearted, because Moody manages to have us feel it all with him. Moody makes us laugh, makes us cry, and offers us a different and unique perspective. Moody was diagnosed with Parkinson’s in his thirties, but the show, I feel, has little to do with his medical diagnosis. It is a show about love, about caring so deeply. Moody reminds us what really matters in the end, and I would write it here but you have to see the show. Highly recommend!
Dinasours by Mandy Rubeli at The Broadwater
The show, Dinosaurs by Mandy Rubeli, returns following its 2024 award-winning Fringe run. A delightful mix of fantasy, science fiction, healing deep childhood wounds, and even comedy. The show is so fast-paced and enjoyable, that I felt like I had been warped into a different time period myself! Wonderful performances and a thought provoking script. Fun experience! The cast seems like they had so much fun creating it while still staying true to the tense themes of the show!
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.
I am excited to jump back into reviewing shows for the Hollywood Fringe Festival. Let me use this site to offer a more personal take and detail more of my experience. Today I drove over to The Broadwater after work, and I would say today started out slow. The vibes weren’t there yet, but I ran into artists I had met before as well as new people whom I expect to see their shows. I managed to see four shows and get a good bit of socializing in. By my third show I was drained. Pleased to see Bryan doing security at the door for Plunge, as well as Trevor, doing a podcast on the sidewalk. Anyways, on with the reviews.
Party Boy by Adam Smith
I had seen Adam Smith’s previous work, so I came in expecting to be entertained and he did not disappoint. Party Boy follows a man seemingly searching for connection amid the chaos of his own party, at least as I interpreted it. The show is an immersive experience driven by a character whose awkward, unpredictable energy evokes the spirit of Andy Kaufman and Zach Galifianakis. Much of the humor comes from watching him navigate his own discomfort, creating moments that are both cringeworthy and hilarious.
Smith demonstrates a remarkable ability to work a live audience, skillfully reading, shaping, and amplifying the energy in the room. His audience interactions feel spontaneous yet controlled, drawing viewers deeper into the experience. The comedic timing throughout is impeccable, with each moment landing exactly when it should. I thoroughly enjoyed Party Boy and found it to be a funny, engaging, and memorable performance.
Wet Hot AMUSICAL Summer
A musical parody of campy theater about a movie that is a revival of a cult classic, one of the most fun experiences in all of Fringe! If you’re looking for smart, strange, high-energy comedy and a night of pure entertainment, this is a must-see. It’s a celebration of over-the-top theatricality that embraces its ridiculousness with infectious enthusiasm. Award-winning Cherry Poppins Theater Company does it again, with another smash hit at the Hollywood Fringe Festival. Expect to be entertained and not care too much about the plot. Sitting here, I cannot think of major themes, yet I hum through the music from the show. Direction, choreography, singing, and comedy all at a 10! I see that the program lists all characters as “Wet Hottie” so I don’t want to spoil any surprises here. It is bizarre, absurd, bold, boundary-pushing comedy.
DWNYC
This production is an adaptation of Harold Pinter’s The Dumb Waiter, relocated to 1970s New York. I am a fan of Harold Pinter’s work and I appreciated the opportunity to see this classic brought to life on stage. The play’s tension, ambiguity, and dark humor remain intact. The performances are solid, and that feels to be the main focus of the production. Two actors produced this project and that is respectable, I am loving the emergence of classical works at the Hollywood Fringe Festival. For those who enjoy watching revivals and/or classic works, this provides an enjoyable evening of theater.
Banana Man Live
What an imaginative and deeply moving piece of theater. The best way I can describe it is as “live theater animation”. Banana Man Live production that feels as though a cartoon has come to life on stage through creativity, movement, and sheer theatrical ingenuity. If you allow yourself to step into Ari Fromm’s imaginative world, you’ll be richly rewarded. The story follows a banana on a journey of self-discovery. Beneath its playful premise lies a thoughtful and surprisingly profound exploration of identity, belonging, and possibility.
I especially loved the inventive set pieces and props, which are woven seamlessly into the storytelling. Every visual element feels purposeful and enhances the whimsical nature of the production. Fromm’s performance is equally impressive as they effortlessly shifts between multiple fruit characters, giving each one a distinct personality and comic voice.
This is the kind of Fringe show that reminds you how limitless theater can be: imaginative, heartfelt, hilarious, and unlike anything else you’ll see.
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
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.
Saw too many shows tonight. I’m too tired to write. Bookmarking this for later.
A Perfectly Still Curveball at The Broadwater
RomCom, just okay. Same actors Pam Quinn Eberhart always uses same actors, nice to see them team up. I have seen a lot of Pam’s shows, want to see her try a different style
15th Century Ballerina at The Broadwater
Tagline – “Comedy, Tragedy, Silk, Cello, Dance.” This show brings all of that and much more!
Wow what a hilarious character for a one person show. A modern day actors with her mind stuck in the 15th century. She interfaces with the present time while struggling to hold onto her profession as a ballerina. Taking us on wild adventures, short lived and eternal romances.
Excellent performance and use of audience. Prepare to laugh your ass off and be wowed by such a role. Tour de force performance from Catherine O’Meara.
The Young Jane Show at EastPAC
Hidden gem at Hollywood Fringe Fest, could easily win an award for political theater. This show is a historic documentation of our times.
The play begins with Young Jane speaking to her viewers on a streaming service but transforms into a series of poetry and song, giving life to what our hearts fight for.
I’m saddened that it was only me and two others in the audience. Lorne Stevenson Jr. gives a domineering performance that has us siding with Young Jane as they spiral into protest.
Jersey Devil at The Broadwater Mainstage
Personal, poignant, and big laughs. Hal Rudnick is terrific in delivering this unique yet universal story, which pushes extremes but stays realistic.
Rudnick speaks on anti social personality disorder and how it manifested in his father. Growing up with a lifetime of embarrassing and dangerous moments. The show stays on theme throughout and Hal shows pictures on the projector that captures moments.
Did it need to be on main stage?
Holy Holy’s at The Broadwater
Wow what a show. Clown Work is really taking over Fringe this year. This is a show like no other, it is art! Great performances, physical comedy, and use of tech design. A fun experience in which the audience will feel like a part of the show.
Stage Takes 