Fringe week continues!
I’ve known Ben for a few years now. I think I was introduced to him when I first mounted a show at the fringe in 2007.
Ben, like a lot of my comedian friends, is always thinking about the philosophy of comedy. It isn’t enough to write a funny joke. It is more important to understand the nature of what makes jokes funny. We had him on Geeks Without God earlier this year and he talked about how one approaches telling certain types of jokes to certain types of audiences.
While Ben has written some very good plays, he primarily identifies himself as a stand-up comedian. He did a stand-up show at the fringe three years ago with a lot of material about being an atheist. The way he was so open about that part of himself got me thinking about how writers and performers integrate their beliefs into their work.
Ben is in Jumpin’ Jack Kerouac with me and I think he views it through a similar lens. We both feel completely out of our element as dancers but we enjoy the challenge. We are both also very happy that we are only going to be doing this once.
In rehearsing the show, I’ve gotten to hear some of Ben’s writing about being social. The thoughts that go through his head are similar to mine. He lives in his head all the time.
Whenever I talk to him, I get the feeling there are two layers of conversation. One is the actual conversation we are having and one is the internal dialogue he is having with himself about the conversation.
I guess we all do that but with Ben, I can actually watch it happen.
All of this analysis results in one very important by-product. It makes Ben a very funny and insightful writer.
Ben also once told me that he thought I was in my mid 30’s and not my mid 40’s.
For having said that, I think he is one of the best people ever!
In addition to Jumpin’ Jack Kerouac, you should check out Ben’s other Fringe show: Fiddlestick Conundrum!
Fringe week continues!
I wrote about current Fringe Executive Director Jeff Larson yesterday. It’s only fair I write about his worthy predecessor today!
Since she is no longer director, there is no danger it will appear as if I’m sucking up!
Last year, Robin did something that a lot of us can’t even imagine doing. She stepped down from a job she really loved because she realized it was time to move on. That takes a tremendous amount of courage.
Organizations like the Fringe can benefit from a little upheaval. Knowing that is one thing. Making the difficult decision to initiate that upheaval is entirely different.
My first Fringe Festival show was in 2007 and Robin impressed me right away because she treated every artist with respect. It didn’t matter if this was your first time on stage or if you’d been performing for decades.
Certainly, that is part of the job. It wasn’t an act, though. She genuinely wanted to see every artist succeed and she wanted to make sure we all knew that.
Conversations with Robin over the years have typically taken place at Fringe central and almost always begin with her asking my how my show is going. Again, that was the job.
But I always felt it was more than an obligatory question. I always felt like she really wanted to hear how my show was going. Her question may have been part of the job. Her genuine interest in the answer was not.
Robin has moved on to other things but her love of the Fringe is still evident in the fact she still comes to the lottery, the previews, and the shows. I haven’t been to a Fringe event this year where I didn’t see her.
She’s still very much a part of the community she helped foster and everyone seems happy to see she hasn’t gone away.
In itself, that seems like the best legacy of all.
Fringe week continues!
I’m reticent to write a blog post about Jeff because as executive director of the Fringe, he needs to be neutral when it comes to the artists producing work. I totally get that.
But I really like the guy so I’m going to write about him anyway.
One of the things I like about Jeff (and the rest of the Fringe staff) is the hard they work to ensure bias is taken out of the system. Many of them produce shows themselves. All of them have friends who produce shows. Yet the Minnesota Fringe is about as unbiased as they come.
When he was on Geeks Without God a few weeks ago, we carefully avoided talking about my shows so it wouldn’t seem like he was endorsing my work.
Jeff just took over the position of Executive Director this year and he always talks about how stressed he gets when he has to get up on stage and introduce things.
The dirty secret? He’s really very good at it. He’s charming and funny. He makes up stuff on the fly. He gets all the important information out in small, easy to digest bites.
I can tell that the social aspect of the job can be a little trying for him at times. He came from tech theater and most techies have some social anxiety. I think that’s why they all have jobs where they talk to each other on headsets in the dark.
But if there is a little social anxiety, he manages it well. He knows that his job is to interact with the audience, artists, and press.
His job is to make things easier for dozens of producers every year and I can’t even imagine how difficult that is given most of us are flaky divas who are incapable of following clearly written instructions.
Jeff has also given me a ride in his Porsche and it was pretty sweet.
So thanks, Jeff, for taking on a tough job and doing it with grace and style.
Also, I expect no special treatment for writing this post.
Although another ride in the car would be OK…
As my Focus on Fringe continues, I look at the people I see for a fortnight once a year because they are awesome.
I know Katherine only through Fringe. As is my sometimes awkward nature, I’ve been to a few of her shows and told her that I thought they were pretty good. We’ve sat at the same table at Fringe central and engaged in conversations about whatever we were talking about. Probably Fringe.
Right now, we are actually in the same dance show, which marks the first time the two of us have actually worked together.
As she will be quick to point out, we aren’t working “together” as we aren’t in the same dances.
All of this is to say that I call Katherine a friend but I don’t know her as well as I should.
She has what appears to be limitless energy and enthusiasm for whatever she is doing. That energy and enthusiasm seems to extend to whatever anyone else is doing as well.
While I imagine it has happened, I can’t remember ever seeing her simply walk into a room. She kind of explodes into a room. She either genuinely likes being around other people or pretends to like other people in an attempt to mask social anxiety.
I think it’s the former but it could be the latter. Either way, it’s charming.
As an aside, I have also just learned that we both went to the same high school. Not at the same time. She was there a long time after I left. But still, neat coincidence, right?
Katherine has received a lot of recognition for her work and that recognition is well deserved. She has a life focused on writing and performing and, to be honest, it makes me a little bit envious.
She’s really good at it, though.
Katherine is a great person to know and I’m excited to be in a show with her. Even if we don’t get to dance together.
Fringe week continues until I’m no longer focused on Fringe week!
Back in 2007, Phillip was a blogger for the Fringe Festival and he wrote about a particularly bad preview we did for Vilification Tennis. I wrote back.
And now we are friends. The end.
Our exchange was actually fairly boring, which may come as something of a surprise given how some people react to Vilification Tennis. Phillip was smart, articulate, and raised good points. I was polite, non-combative, and listened.
He came to our show at the Fringe that year and gave us a positive review. I went to his show that year and really enjoyed it.
See? Being nice to people actually works.
Phillip is a lover of words and language. His shows are frequently solo shows that explore his personal journey, his personal opinions, and his personal passions. He has a complex sense of humor that ranges from geeky to angry to political. Sometimes in the same sentence.
His writing is challenging and I mean that in the best possible way. He challenges his audiences to think. His work is dense and thoughtful. It is not impenetrable but nor is it for those who are unwilling to pay attention.
That said, he can produce work that is startling in its simplicity. His “Improv Comedy Duo” with Ben San Del was one of the funniest short works I’ve ever seen at the Fringe. They took an idea and carried it to a brilliantly absurd extreme.
Because of his passion for words, he is one of the people I look forward to seeing at the Fringe. Conversation is lively and interesting. He can see the best in just about any show while still recognizing that the best is not always good enough.
He’s also always willing to take a chance. As with many years, Phillip is involved with more than one show at the Fringe Festival. One of them is a dance show. I’m in it too.
I don’t know if Phillip is a better dancer than me (probably), but I do know he’ll give it everything he has. Because that is the kind of person he is.
With the Fringe Festival approaching, it seems appropriate to focus on a few Fringe friends for the next few days.
I met Amy when she was asked to step in and help direct my fringe show “Story Time: Time Bomb.” I didn’t know her and she didn’t know me. I just knew we needed a director.
It was a great learning experience for both of us. I’d never done a “kids” show and she’d never directed a show that was mostly improv. The result was a tight show that was, I thought, a lot of fun.
For all the work I do in theatre, I’m not a very good director. Amy is a great director and her skills have not gone unnoticed in the Twin Cities theatre community. I’m glad I got to work with her before everyone else found out.
Amy always has a big smile on her face. I must assume she is always smiling because she is always enjoying herself. From that experience with her as a director, I think it is also because she is getting to do what she loves with her life. It’s hard to be bitter about that.
I’ll note she isn’t smiling in the picture above. But when you are posing with a Batleth, you should at least try to look serious.
She is co-artisitic director of Walking Shadow Theatre Company and if you haven’t heard of them, you should take the time to learn. They are producing some of the best original (and adapted) work in the Twin Cities.
In getting ready to work with Amy on a show in the spring, I like how excited she is by every idea. She makes a great collaborator and it makes me want to write something worthy of her excitement.
The Fringe has been a gateway for me to a lot of truly talented Twin Cities artists. Amy is one of those people and I’m very happy this wacky theatre festival brought us together.
I’ve known of Carr far longer than I’ve actually known him. When I started at the Renaissance Festival thirty years ago, the Ratcatcher was one of the most well-known street characters anywhere.
I didn’t know him as a person then. I knew him as an icon. He was what all of us were trying to be, if only just a little bit.
Many years later, Carr was the Artistic Director of the festival and he had created what can be fairly called a lifetime achievement award. I was the third recipient of the award and he was the person who presented it to me. It was a surreal moment. I was recognized for my contributions to the festival by someone who was a legend long before I ever started making them.
A few years after that, I made a push to present that award to Carr. It seemed wrong to me that he should be excluded from consideration due to the technicality that he created the award.
Carr is a passionate man. He has so many passions, it is hard to see how he manages to keep track of them all. He is a speaker, a photographer, a director, a political activist, an actor, and a great deal more.
The festival is a world of challenges and frequently a world of extreme negativity. Everyone thinks they could do things better. Most of them are right.
But a focus on the negative can be crippling. Carr is so relentlessly positive about the experience that he reminds all of us why we are doing this in the first place. We are doing it for the love of the experience. At some level, that love of the experience outweighs all of the negative stuff.
His talent is to find a way to keep a huge cast focused on the good things. He doesn’t pretend the bad things aren’t there. He simply reminds us that they can’t be the most important thing. Otherwise, why are we there?
Carr and I don’t always agree. Yet I have the utmost respect for him because he disagrees with me without ever devaluing my opinion.
I know who Carr is as a person now. That’s better than being an icon. Icons aren’t real.