I haven’t blogged for a few months because, I guess, the shit that has been pissing me off has gotten me down. I felt a need to recharge my batteries. They are mostly recharged and just in time for the Fringe Festival.
I try to review every show I see at the Fringe. This can be tough because I see shows by a lot of friends and sometimes, I don’t enjoy them. Which sucks.
But the thing is, it is all opinion so when I don’t care for a show, I’ll do my best to explain why I didn’t care for a show. Because criticisms aren’t particularly useful if there isn’t anything constructive about them.
In any case, it’s just my opinion. One noisy white dude on the internet who decided to write down his thoughts. So take my opinion however you would like. Use it or don’t. But I hope you go out and see a few Fringe shows because this Brigadoon of theater (yes I know what I just did there) isn’t around for very long and there is something for everyone. You just have to look.
Here’s what I did on day one!
I know everyone involved in this show and it is pretty much aimed directly at my strike zone. I’m about to start my 35th season at the Festival and I’m, you know, a nerd. The first scene was really strong and I was totally down for a Renaissance Zombie show. But it never really found its groove and it took me a while to figure out why.
I didn’t feel like the characters grew at all. They were freaked out by the zombies at the beginning. They were freaked out by the zombies at the end. The asshole was always an asshole. He didn’t learn. And the other two didn’t learn to cut him loose. I felt like the show needed to lean in to making fun of the Renaissance Festival, strange as that may sound.
The decision to do the zombie bits as shadow puppets didn’t work for me for a couple of reasons. It took the most dramatic and potentially scary moments of the show and rendered them a little toothless. The puppetry also needed to be better if it was going to be used. Too many characters being manipulated and not enough hands doing the manipulation.
I liked this concept so much and I wanted to like this play. The audience was, even for a Thursday 5:30 crowd, tiny. And that made a difference. When an audience isn’t getting loud and into the show like this, it can really mess with the energy of the show. It needed that energy. A more full audience that is more vocal would definitely help.
The actors did very well. This is a wordy show and Sara Bogomolny is tasked with playing several different roles. The three main characters have a LOT to say and Jason Kruger, Brynn Berryhill, and James Fairbairn were completely committed to squeezing everything they could out of the roles.
Even though I wasn’t sold on the show, I’d recommend it. I feel like a different audience would make for a better experience.
This show was produced by Fearless Comedy Productions and I am the Artistic Director of Fearless Comedy Productions. I had nothing to do with the writing of the show and the first time I saw any part of it was on opening night.
Now that I’ve gotten those caveats out of the way…I loved this show. The jokes were sharp and made fun of Bill & Ted’s Excellent Adventure, steampunk, the patriarchy, Stargate, History class, and a great deal more. Things were coming at me so fast, I was concerned the show was going to run over when, in fact, it landed at just around 50 minutes.
The casting on the show is really top notch and the choices for which actors played which characters impressed me a great deal.
I think if you are going to parody something, you can’t be shy about it. I mean, you can try to make sure people who don’t know the source material have a good time (I think they will) but you can’t pretend you aren’t making a parody. The writing team on this one did a really great job. So did the director. So did the actors.
So yeah, everyone did a great job on this show. I really enjoyed the hell out of it.
News flash! I don’t just write reviews of Fringe show, I also produce and write Fringe shows!
The Lunch bunch is my ninth collaboration with Jami Newstrom and this show was a hard one for me. I was trying some new things, I was writing a character whose voice was far removed from my own, and when I watched the source material, I realized The Breakfast Club isn’t all that funny. It has funny moments but it’s a serious film.
So I had to write a show that reflected that. And it had to acknowledge some things that happen in the original film that were not OK. I couldn’t pretend they didn’t happen so I had to deal with them. And ask myself what those things might have done to those characters.
The cast for this show completely nailed what I was trying to do. Our audience on opening night was fantastic. They laughed at all the right moments and one thing about writing dramatic work is hopefully getting your audience to laugh because they are more emotionally primed to cry.
I’m really proud of this show. But it’s my show. So it’s hard to judge fairly.
Frankenstein: Two Centuries
The Mysterious Old Radio Listening Society has, for the last few years, produced live performances of classic radio drama that is some of the most compelling theater at the Fringe.
I know, I know. It is just actors (very good actors) standing in front of a microphone reading a script and that sounds super boring. Trust me, it isn’t.
This year, rather than reading classic scripts, two of their company (Tim Uren and Joshua English Scrimshaw) wrote original tales inspired by Mary Shelly’s Frankenstein. To make the task more difficult, they each wrote the story in the style of a classic radio series. Because they are inhuman machines and I hate them.
Anyway, the scripts themselves, one more creepy and one more comic, were both great. The two different tones complemented each other well. The introductions showed a reverence for Shelly’s novel as well as the shows to which they were paying tribute. It was both a history lesson and really great theater.
So that’s day one! I’ll try to keep up. If you are Fringing, I hope you have a great time!
I saw 34 shows at the Fringe Festival this year and appeared in ten. I had a hand in writing three shows. I watched one show twice because it was that good. I most likely missed at least as many good shows as I ended up watching.
The Festival is a glorious orgy of creativity. To expect any one thing beyond many different interpretations of theater is foolish.
I love that it takes nothing more than $30 and an idea to have a chance to be in the Fringe. Hell, you don’t even need an idea. You just need to apply. When you get in, maybe the idea will come to you.
Or maybe it won’t.
I saw some truly great shows this year. They were great not just by Fringe standards but by theater standards. I produced work that I was immensely proud to have created.
The experience is energizing and life changing. Every year.
Here, then, are my top ten shows at the 2018 Minnesota Fringe. As I’ve no desire to rank them, I shall list them in alphabetical order. Narrowing the list down to ten was a painful task but I’ve opted to go with ten rather than five because five was agonizing.
I should also note that these shows were, for whatever reason, my favorite. I saw many good shows that didn’t make this particular list. Some of them might have been objectively better, but these are the ones that will stay with me the most.
Have I written about this production enough? Apparently not.
The only show at the Fringe I watched twice, “Blood Nocturne” was, to me, a masterful piece considering the difference between how history oft times redefines reality and how women with power are frequently vilified for no other reason than because they are women.
Starting with what we believe we know about the Countess Erzsebet Bathory, the play used music, folk tales, dance, and even (sometimes) humor to show how much much we don’t know.
Meticulously staged, sharply written, and brilliantly acted, this play was never boring and frequently compelling. It grabbed me from the moment the lights dimmed until at least ten minutes after I’d left the theater. There was not a single moment in the show that felt out of place.
This show will be one of the last things I forget when I have Alzheimer’s.
Fringe is over for another year and while I shall miss it terribly, eleven days is a good length.
Saturday was only the second day of the Festival where I didn’t have a performance and Sunday all three of my shows closed, one right after the other. So on the final weekend, I didn’t see as many performances as I would have liked.
Much as I wasn’t thrilled about Fringe Central this year, I actually spent Saturday night there and instantly regretted having waited so long. I mean, I’m still not nuts about the Red Stag. But I got to talk to artists whose work I enjoyed and finally introduced myself to the new Executive Director.
It was all very lovely and while I didn’t much care for the Red Stag, I remembered why I really like Fringe Central.
So even though Fringe is over, here is my final batch of shows I saw/appeared in on Saturday and Sunday. Tomorrow, I’ll try to do a round up post.
Watching this show will either convince you that something needs to be done about the treatment of women in musical theater or – gosh – you are a horrible human being, I guess.
Looking through the lens of roles for women in a lot of classic musicals of the mid 20th century that are still, for some idiotic reason, being produced, they point out the puzzle of being an actress looking for roles in musicals. I mean, you can love the music of “Carousel” but have you really ever thought about the play?
And what about that last scene in “Grease?” The one where Sandy changes everything about herself to get her man?
Maybe you knew all of this already. But the show doesn’t just point out the horrible misogyny in musicals you thought you loved. It points out how that misogyny manifests itself in the choices of the musicals that are produced, the types of actresses producers are willing to cast and the way women are treated at auditions.
We theater people think of ourselves as woke and yeah – I guess we are more liberal than your average non theater person. But most of us are still white and most of us are still gatekeepers when it comes to giving roles to people of color, women who are outside a very narrow age and body type standard, and recognizing that “Carousel” may be a classic but holy fuck is it awful.
The show was filled with great performances, emotional stories, and fantastic singing (of a lot of disturbing lyrics). The message was on point.
I was listening. I hope a lot of other people (in the position to do something about the problem) were as well. Read More…
I see more theater during the Fringe Festival than during any other time of the year. Of course, it is a lot easier to see theater during Fringe.
It is all in one place (more or less). Everything is only fifty minutes long (more or less). I’m usually already there anyway.
I love live theater but you really can’t do better than the zero entry of the Minnesota Fringe. One show is ten bucks. Four shows (on a weeknight) is nineteen. Some of them might not be great shows but at five dollars a show, who cares?
For creators, the entry point is equally easy. Less than $50 to enter the lottery. Less than $500 to pay your producer’s fee. Someone else does a ton of marketing for you.
The only downside is that lottery system. Sometimes you get in. Sometimes you don’t. You are always taking a chance.
For me, the chance is always worth it. Fringe is about taking chances – whether it is the show you decide to produce or the show you decide to watch.
Here are the shows I watched/appeared in on Friday!
Long form improv is finding it’s way into Fringe more and more in no small part to the way HUGE Theater has been successfully cultivating the art form for a few years now.
Shrieking Harpies is one of my favorite kinds of long form improv because they add a musical element, which is hard as hell and I can’t help but admire. Rather than just telling a story (that they are making up because that is how improv works), they are singing a story. That they are also making up.
I bring this up not because it surprises me but because it impresses me.
It should impress anyone, to be honest. Lizzie Gardner, Taj Ruler, and Hannah Wydeven all have really good voices and clearly work together very well. They almost never stepped on each other, actually found harmonies when singing together (which – I repeat – they were making up), and put together a great story.
Since it’s improv, they might not put together a great story next time. But I’m fairly certain they will.
I’ve been interested in writing a horror show for a while just because I think it poses a lot of different challenges for me as a writer.
“Geminae” is the kind of show I’d like to write.
It combines hard Science Fiction with horror elements in a way that got some great reactions out of the audience members I was sitting with. What will scare you is not so much the conclusion of the story as the revelation of the bad decisions some of the characters are making.
The staging of the show was inventive – especially given one of the characters was supposed to be weightless. The actors really sold the fantastic elements and I thought Emily Lindholm and Victoria Pyan, who were the emotional center of the piece, carried the weight of the show with a lot of skill.
Horror is a hard genre to get right. I’m pleased to have seen so many shows this year that have been making it work.
Gabriel Mata is a great dancer. Not just good. Great. He is powerful, graceful, evocative, and understands how to bridge the gap between the dance and his audience. Last year’s “Out of the Shadows” was one of my favorite Fringe shows. Which says a lot because in general, dance shows don’t really connect with me.
Dreaming may not have spoken to me as someone who isn’t really interested in dance the way “Out of the Shadows” did but it shows that Gabriel still knows how to bring his audience into the world of dance. What you need to understand about the show is right there in the title.
Though a series of dances, he brings us through a world of dreams that can be terrifying, comforting, confusing, and joyful. Sometimes the dreams inspire dances. Sometimes the dances inspire dreams.
I think Gabriel understand his art form like few others do. But more than that, he knows others will appreciate that art form more if he lets his audience in.
I may not go to a lot of dance at the Fringe. But as long as Gabriel is there, I’m going to keep being open to the experience.
Also – that show image? Damn.
Our penultimate performance was a little odd from a writer’s perspective. The audience was responding but not always at the places we expected. They would laugh loudly at a joke that had previously just gotten chuckles and then wouldn’t respond to a joke that had gotten a huge response in every other performance.
You have to roll with such things in a comedy. You never know what, from one night to the next, will land with the audience.
I was very gratified that the Star Tribune rated our show one of the ten best shows at this year’s Fringe. An accolade like that is great and appreciated and it also triggers imposter syndrome.
See, I love the show. I love what the actors and directors did with it. I love that I managed to write something that went beyond the simple premise that was the initial idea. I’m proud of what we did.
But to me, it’s just this silly show where we substitute words for swear words and think about what “Family Friendly” really means. It isn’t TOP TEN material. I look at other shows that just blew me away this year and think “man – I wish I could write something that good once in my life.”
I can name ten shows I think are better than the show I’ve written. Not because I think I wrote a bad show but because to me, what I write isn’t spectacular or brilliant. It’s just what I write.
So it is really humbling and awesome that someone thought this show was that good. I’m sure there are others who would rate it as one of the worst shows they saw this year.
Both responses are equally valid, of course, as theater is subjective.
I’m proud of the show so I’ll just try to stick to bragging about the fact that at least one reviewer out there was as happy with what I produced as I was.
Once a year, I try to take a night off of Fringe. As much as I love all of it, I typically need a little bit of time to recharge.
With performances every week night this year, I couldn’t completely take a night off. But on Wednesday night, I stuck to my show and nothing more. It took hard work and determination to avoid watching something else. But I pulled it off.
I wouldn’t even be a playwright if it wasn’t for Fringe. I didn’t go to school to be a playwright. I just had an idea for a show and figured that the Fringe was the best place to give it a try.
I’ve written a lot since then. And I’ll bet if I went back to that first play, I might be a little bit embarrassed. At first, I couldn’t imagine writing something by myself. Eventually, I finally gained the confidence to write a show on my own.
And this year, two different people asked me to write something with them. Which was humbling and gratifying.
The thing is, Fringe has had a fundamental impact on who I am and what I’m doing. If I am ever not involved, it will not be by my own choosing.
So here is what I saw and appeared in on Wednesday and Thursday!
This was the only show for me on Wednesday night. The rest of the evening was spent hanging out with my lovely Fearless Comedy friends at The Republic.
I think our attendance was low at least in part to our proximity to a Beyonce and Jay-Z concert. At least that’s the excuse I’m going to make for the audience being a little light. It’s easier than blaming my writing.
Fringe has two hubs instead of three this year. For various reasons, there is no Uptown hub. It makes things easier (especially when you have three shows on the West bank) but I miss the craziness of trying to make a mad dash across town.
I guess that’s silly. It really sucks to drive from NE Minneapolis to HUGE theater only to find that the show you wanted to see sold out ten minutes before you arrived. On the other hand, maybe you just go over to Jungle to see whatever is there and you are completely floored by something you didn’t even know you should be seeing.
A lot of things change with Fringe every year. And if you’ve been there for a while, you probably have opinions about what is better and what is worse. I know I do.
It’s why I have mad respect for the people who run Fringe. Because everyone involved from the artists to the audience has an opinion. And all of us are probably going to share it.
And that has to be exhausting.
So look – some things are better this year. And something things are (in my opinion) not as great. But Fringe is great no matter what. We can complain about the details but I guess it’s just because we all want it to be a little bit more perfect.
Here’s what I saw and performed in on Tuesday!
Interesting thing about this show – when the audience is big enough to really laugh at it, it runs about 47 minutes. When the audience is small and kind of chuckles, it runs about 42 minutes.
That’s how much time laughter adds to a show. And it’s why writing comedy can present such a challenge. You have no idea how long your show actually lasts.
I bring this up because Tuesday at 5:30 is a tough time slot and our audience was pretty light. I think it was a good show. But not too many people saw it.
The long weekend days have ended (until next week). Weeknights at Fringe are considerably more civilized since the start at 5:30 rather than 1:00. With performances every night, the most I can see in a single evening is three shows.
I can’t even fathom seeing a show in every slot. The few times I’ve come close, I’ve fallen asleep in at least one show. I feel terrible about doing so, of course, since the show in question is usually not to blame.
One thing that has helped this year is the lack of Fringe Central time. It makes me a little sad since I enjoy hanging out with friends in the evening. But Red Stag Supper Club just hasn’t excited me as a venue and it has made going home after a day of Fringe a more desirable alternative. I hope to make it to Fringe Central a couple of times before Fringe is done. I miss the experience.
But not going makes it easier to stay awake.
I can’t believe I’ve been involved in the Fringe for this long without seeing one of Les Kurkendaal’s shows!
Mischief managed, I guess.
I think what makes Les’ story of spending time in Russia compelling to me is the fact I kept thinking about it later. On the one hand, there is the almost amusing fact that he was considered almost a novelty by most people in Moscow because he was black.
On the other, there were the conversations he had with other gay men about how being gay in Russia was completely fine. As long as you didn’t tell anyone you were gay.
Yes, there is an undercurrent of danger but this isn’t a sad story. Les is a stranger in a strange (to him) land and he takes risks because it beats sitting in his hotel room being bored. He’s exploring a new country and he’s also exploring a new relationship.
I’ve made some questionable decisions while traveling. I’ve never regretted them because they always had a way of working out. So too, did it seem things worked out for Les. He took chances and came away with some great stories.
Fortunately, he’s good at telling them to others.
I ended up at this show by accident. Turns out the show I thought I was going to was at the Rarig Xperimental. I had time to get to the other theater but I figured what the hell?
Jeanette Rankin is a fascinating woman. She was as suffragette, the first woman elected to the House of Representatives, a fierce peace advocate who voted against US involvement in both WWI and WWII, and an activist up to the day she died.
This show, unfortunately, was a rather plodding and dull biography. For some reason, J Emily Peabody, who played Rankin and wrote the script, spent much of the show changing clothes to indicate the passage of time. Every time she moved to a new time period, she would change a hat or a skirt or a blouse. Sometimes all three.
The costume changes didn’t add anything to the presentation and at times turned into a needless distraction.
Because there is so much to the story of Jeanette Rankin, most of it was left out of the show. It wasn’t until later in the show it became clear that both times she served in the House of Representatives, it had been for a single term.
It felt as if there was so much information to pack into the show that they forgot to make the information interesting. And that was a real shame because the subject of the show was most definitely interesting.
Our second performance played to a smallish house (Monday night isn’t the greatest time slot) but it was a good audience. They were engaged and seemed to get even the deepest of cuts. It didn’t hurt my co-writer was in the audience and most of the deepest cuts had come from him.
We also got a very nice write up in the Star Tribune. So hooray!
As the title may suggest, Levi Weinhagen and Joshua English Scrimshaw came off the waiting list for the Fringe Festival with only three weeks left to go. This is, we, are assured, completely true.
The conceit of the show is that they don’t have a show. An entire show about having no show could end up being something other than uproariously funny.
I mean, it could if it weren’t in Levi and Joshua’s hands. Because they know what they are doing and while the show may look like chaos, it is meticulously controlled chaos.
Audience members are regularly enlisted in this show because if you “don’t know what you are doing,” what better way to fill time than to get help?
They gently skewer the Fringe Festival, some other Fringe performers, and each other but the whole thing has the feeling of a farce in which someone forgot to give the characters their scripts.
You will see better shows at the Fringe. But I’m not sure there will be any that are more fun.