|  |
So, it's been almost a month since the Fringe and we're just now wrapping up the blogging. Some of it took some time to stew, and Bethany has decided she only wants to comment on one more piece. So, I'll just run down the final 8 shows so she can get to the one she wants to review.
Saturday, 08/09/2008
Libertarian Rage is a piece about political apathy in America presented by Phillip Low. Like so many other pieces in the Fringe it did an awful lot of shouting about things of which we should be aware, but offered precisely no responses, alternatives, or solutions. Just a note for the issue-minded artists out there: People who go to art are already politically-minded and are familiar with your premise. Quit preaching to the choir and start offering some solutions. Other then that, there was a really amusing zombie bit. 2 out of 5 stars.
We stuck around the Theatre Garage for the next performance, Mike Fotis' An Intimate Evening With Fotis: Part II. Like last year, Mike delivered with some wonderfully written comedy, and Jen Scott cleaned up on bass. This is high quality sit-down comedy, but that's all. I don't know that I needed to see two years of it, but I certainly laughed a lot. 3.5 out of 5 stars.
Oens happened. Interact sucks as a performance space. This show gets one star for two things: 1. It may have not offered solutions to the political and cultural struggles it discussed, but the desire to discuss them came from a genuine place, and 2. for dealing with that performance space. Everything that was there should have been moved to the Bedlam.
We then shuffled over to the old Guthrie Lab space (now conveniently named, The Lab Theatre) for Meet the MacBeths, a goofy, 1950's take on the Scottish play. In short, they had some really clever stuff going on in the first half by interpretting into the 1950's framework they had set up, but slipped back into the original text too much, which lost the established cleverness. The performances were great, however, and it was VERY well executed. 3.5 out of 5 stars.
Among the "bring your own venue" shows was a piece at Kieran's Irish Pub called A Wake For Change. Just a note to the writers, if you're going to use the word "wake" in your title, and it's at an Irish pub, you sure as hell better involve a corpse and some heavy drinking. That being said, this was a heavily over-produced show. Huge cast, expensive effects, and little pay-off. I may not have been paying attention, but I didn't catch the relevance if they were going to be drawing a parallel from the 1960's folk-music revolution to today's political climate. So, why did I need to see it? It's been done, and overdone, and now it's just an opportunity to try to make money. Meh, I was bored. 2 out of 5 stars. That being said, I did have some AWESOME artichoke dip!
The last show we saw on Saturday was Among the Oats by Jared Reise. Despite the fact that I was VERY tired and had seen too much other theatre that day, I really liked this piece. It was clean, neat, and had some really wholesome things to say about mental health, companionship, and the nature of healing. Normally, I don't get down on that lovey-shit, but this did it in a quirky way that didn't make me want to gag. I'd say it earned a solid 4 out of 5 stars. Also, I've seen Mark Benzel in a few things now and I'm really liking what he puts out. Nice work, all.
Sunday, 08/10/2008 We biked over to the Bryant Lake Bowl on Sunday before noon to catch the last showing of Shift performed by Jonas Goslow, and written by Nick Ryan. This turned out to be the best show of the Fringe for both of us, but I'll let Bethany explain why. First, however, to fully appreciate the show, the viewer had to have had some knowledge of cancer or been touched by it in some way. Also, it wouldn't hurt to have some knowledge of the Large Hadron Collider in Switzerland, which is governed and operated by the European Organization for Nuclear Research (CERN). The Lhc is a particle accelerator that is intended to study the type of energy produced micro-seconds after the big bang. In the wake of the discovery of the types of experiments they would be doing there, some scientists and protesters (mostly Xtian in nature) have tried to stop it from becoming fully operational. Why? Because they believe that accessing this type of energy will produce micro black holes which could eventually become actual black holes, that could destroy the Earth. Nevermind that there isn't enough matter in our entire solar system to produce a black hole. But, since when have those crazy Xtians ever needed logic to make their arguments...? And, now for the review of the play. Bethany?Nick Ryan is an amazing writer. Amazing. He is a member of Four Humours Theatre Company, and he was also one of the writers for Mortem Capiendum (one of my top 5 in this year's Fringe). Jonas Goslow is an amazing actor. This is the first time I've seen him on stage, and for an actor to wow me like that on one performance, they've gotta be damn good - he's damn good. Nick Ryan + Jonas Goslow = amazing, Amazing, wow-me, damn good play!
Before I continue, I have to say that my complete theatre experience was assisted in part by the super-yummy soy mocha and vegan breakfast scramble at the BLB. Thank you, BLB.
The play opened with Goslow in front of the stage curtain, wearing a pair of short shorts, dorky socks, and a t-shirt. He had a box of action figures that he employed to engage in the ultimate battle of good vs. evil (good = Creationists, bad = Evolutionists). He was playing a brainwashed 7-year old so well that (for a minute) I actually thought Nick Ryan had written a piece showcasing a mentally handicapped actor. Not so. After the righteous Creationsit Hans Solo doll vanquished the evil Evolutionist Voltron doll, Goslow disappeared behind the curtain. When he was next revealed, he was a husband who has just discovered that his wife, Alice, has left him. Next, he donned a face mask with mesh material sewn to look like the eyes of a fly. He became a member of "The Hive," a group of militant activists-turned terrorists who plotted to save the world from black holes by destroying the Large Hadron Collider. The fourth character in the story, played by Goslow, was an elementary school teacher in a suburb of Houston, TX, whose job is threatened by new legislation that cuts school funding and prohibits the teaching of Evolutionism.
Throughout the play, Goslow moved between the three adult characters and the storylines began to converge. The husband reveals that his wife is dying of cancer, which originates at the base of her spine and is spreading. The teacher receives an ignorant, threatening note from the parents of one of his students. The Hive destroys the Collider and sets science back 10 years. A failed attempt to remove the tumor kills Alice. The teacher loses his job. As the play's metaphor is revealed to the audience, the crushing reality of our current culture also becomes undeniable.
In the play's final three minutes, Goslow again appears in front of the curtain as the young child. He talks to the audience about his teacher who was fired because he believed in the evil Evolutionists. I felt sick. What I had found cute and silly at the play's beginning was sickening and repulsive by its conclusion. My own acceptance of ignorance - my willingness to laugh at the child's naivetee rather than recognize the danger of his ignorance was laid before me and I had to see it for what it was - my small contribution to the kind of ignorance that spreads like cancer through a society.
This play was everything that theatre should be. Most of all, it was both entertaining and thought provoking in a way that made me look at the world just a little bit differently after leaving the theater. 5.5 out of 5 stars for this piece - easily the best thing I saw at the 2008 Fringe.
The last piece we saw was In Rehearsal, which probably should have stayed there. No names, no links, as I don't want to hurt anyone. This show was a self-indulgent, self-aggrandizing opportunity for the actress to show off how un-loved she feels, how bendy she is, and what types of condoms she wants her next lover to use on her.I have no idea what rating to give it, but Bethany made a very good point. We saw a couple decent one-woman shows at the Fringe this year (namely Sarah Martin and Allegra Lingo), but several were whining, self-pitying attempts at getting people to pay attention to them. The only one-MAN shows we saw were absolutely fantastic, because they weren't about the actor. They were about the art. This has nothing to do with sexism, but everything to do with women feeling they have to put on a show about what people expect them to say. Men have freedom to not do that. Allegra and Sarah saw no boundaries in front of them in regards to their material, so thusly didn't use them. Nice work, ladies. And, that's it for Fringe '08. I hope you got something useful out of all of this. If not... keep scrolling.
1 Comment | Post A Comment | Add to Memories | Tell a Friend | Link
 |
|
So, after a long week of auditions, work, and just general craziness, we're back to the reviews. Now, we know some of you may be thinking, "But, Scot and Bethany, why are you still reviewing when it doesn't do the audience any good? The Fringe is OVER!" And, you're right. The Fringe is over. However, some artists look for info and reviews about their shows months after the Fringe is done, in search for ways to either improve or just generally get a feel for things they may want to change. So, that being said. We're going to give you three last Fringe posts. Starting with:
Friday, Aug. 8
NOTE: I will be entering reviews first, as Bethany is still unavailable to blog. But, she'll add her $.02 later, so be sure to check back for the edits.
 The Gypsy and the General would turn out to be the 4th in a string of SEVEN-STRAIGHT good shows. That's really hard to do at the Fringe, and it took some driving around to do it, but it was nice to have. Personally, this was 2008 Fringe top 3 for me. It was absolutely tight. The movement was intent-filled, and geniously choreographed. The effects were carefully articulated and executed, giving you the distinct impression that this was simply NOT a Fringe show. This show (along with two others I'll reveal in our final post) goes on my list of top-three shows that should be given full-length time and opportunity, and I'll be first in line to see it!!! 5 out of 5 stars (I'd give more, but that's just tacky). As a final note, I felt the guitar-player was absolutely brilliant, and was perfectly fitting with the nature of the piece (not to mention wildly and limitlessly talented).
 Next on Friday was Allegra Lingo's show Tipping the Bucket. Now, I mentioned last year that I Hate Kenny G was one of my favorite shows of the Fringe, so I was eagerly anticipating this year's installment. Not only that, but the subject revolved around how the Catholic church deals with homosexuality, so I found it rather apt that my father (an Episcopal priest for those who don't already know) was in town to catch it. I wasn't as blown away with this year's show as last years', however, there was less music so I guess that may have had something to do with it. I find myself in a conundrum about her methodology. I respect how she never really explained (in full detail) how it made sense for her to be Catholic and gay, because it's a personal thing that everyone has to understand on their own terms. However, the show was billed on that premise, so it was a little frustrating to feel unrequited in the search for the info. Still, the show was a solid 4 out of 5 stars, and a viewing of a wonderful storyteller to boot!
 We then traversed the treacherous Rarig Center stairs to hit the Thrust for Horse Trade Theater Group's The Pumpkin Pie Show. This was #6 out of 7 good shows. Why? Because it wasn't your usual storytelling. It was storytelling with a gimmick. They have 14 possible shows that can be selected, but instead of leaving it up to the audience to choose, they decide by way of the only real, ultimate authority - CHANCE! Each story has a card, and they pick at random (granted, with veto authority). I'll keep it short. The stories were never just sad or funny. They were sad with moments of levity, and funny with moments of gravity. For the cleverness of the format and the all-around richness of the storytelling, they get 4.5 out of 5 stars.
 And, our last show of the evening (sounds like "...and for my final trick...") we made it to No Refunds Theatre Co.'s production of Sun Tzu's Art of Basketweaving War. Adeptly narrated by a baggily-clothed John Middleton, this take on the ancient art of mortal combat is a clever attempt at making technical reading fun. The three actors depicting the diagrams Middleton describes (Christopher Howie, Mike Postle, and Kiseung Rhee) are trained in various forms of martial arts and, knowing that, I felt a little cheated when those skills were seldom-used. Admittedly, I may be a little biased because I knew that was coming and was therefore hoping for more of it, but if you have ninjas, why not use them? Their physical comedy was welcome, however, and I felt the show was quite a refreshing brain-recharge after some of the heavier material of the day. Another 4 out of 5 stars.More to come...
Post A Comment | Add to Memories | Tell a Friend | Link
 On Thursday at 5:30, we headed to Rarig for An Inconvenient Squirrel. This was my first experience with a Scrimshaw show, and I loved it! I'm a big fan of Children's Theatre, and this was a wonderful example - engaging for all ages, fast-paced and high-energy, clear, and based around a valuable lesson: be yourself even if that means admitting that you don't know who you are yet. 4 out of 5 stars.
Yep. I dig. Normally, when I go to theatre, I get crabby at the audience members who are making noise and distracting from the show, but The performers in this show were loud enough and articulate enough that even hordes of children couldn't drown them out (though they occasionally tried).
We would have seen another couple shows on Thursday at 7pm and 8:30pm, but my folks came into town, so we sat down to dinner first.
 However, for the 10:00pm show, we treated ourselves to one of the better things we've seen this Fringe, Monica Rodero & Daniel Schuchart's Gone, Gone, Gone. Hey, it kept my parents awake after a five hour drive across Wisconsin, and it's dance, so it must be good, right? The first thing I noticed about the piece is that we had a couple of slender, lanky dancers, who still managed to produce some wonderfully short, tight movements, as well as the long, languid movements generally associated with more slender dancers. In other words, these two have worked insanely hard at their craft to be able to do what they want with their bodies, not what their bodies may have been predisposed to do. They work their way, beautifully, through a series of difficulties in communication, all clear enough to get a feeling yet open enough to allow for interpretation. Admittedly, there were some things I didn't get, and I guess it's my difficulty with dance, but it gets a 4.5 out of 5 stars, and is certainly worth seeing again if they ever come to town for a full-length show!I loved this piece! The movement was phenomenal, and phenomenally original! The music selections were fantastic as well! The pair explored the theme of relationships from a number of angles, and so when our party of four discussed the show, we found that each of us saw different things depending on our experience/perspective. My instinct is to give this 5 out of 5 stars - simply because the piece managed to play every emotional note, take risks, and succeed flawlessly.Up next: Friday's fab four performances!
Post A Comment | Add to Memories | Tell a Friend | Link
|
|
We went to see Stupid Face at 5:30.
 As previously stated, I am very much NOT a fan of therapy theatre. Why would I pay you money and give my time to hear you talk about yourself? That's something that you pay a therapist to do.... for 50 minutes, not 60. I often wonder if artists are aware of the sucky sucky economy, and the fact that this sucky economy is sucking money from an already struggling art form. Now more than ever, theatre needs to be all about the audience experience. If you think for one second that people want to get up off their couches, drive to the theatre (on $4.50 a gallon), pay for parking, and pay for a ticket so that they can help you work through something, you're dead wrong. And what's more, your inaccurate assumption is damaging to the rest of us who are trying to win the investment of potential audience members. If someone goes to see your therapy show, and comes out thinking "boy, I guess I won't be doing that again," then you are responsible for the lost revenue that patron could have brought to other companies, and the artistic fulfillment the patron could have enjoyed if they had gone to see something better. That may sound harsh, but this really is not the decade to be doing "me" theatre - that was Greenwich Village in the 70's, and I'm sure it pissed people off then, too.
The entire hour was a chronological account of the artist's experience with Bell's Palsy. I found nothing in the story that I could apply to my own experience, or that of anyone I know. I found nothing that made me consider the universe and my place in it. Nothing that made me want to know more about world hunger, global warming, politics, minority issues, or even Bell's Palsy. I saw on stage a young, upper-middle-class white female who got her BFA in Acting from the Guthrie. She was telling me about how her life had changed over night and that she had learned to cope, overcome adversity, endure..... a mildly distracting facial imbalance. Okaaaay..... and I'm waiting for the catch. I'm waiting to hear about how you were inspired to perform in the streets to raise money for Operation Smile. No? Well then tell me a story about how you toured American hospitals, recording the testimonials of other people whose lives had been changed over night by illness or injury. No? Okay, then I'll listen to another track of your CD, and check my watch. 2 out of 5 stars.
I'm not a big fan of "therapy theatre", myself. However, I would have to say that this is one of the better versions of it I've seen, as the performer did come to an understanding about how her malady isn't such a horrible thing, and how she'd come to live with it. For that, I give her credit. Also, she has a great singing voice. One which is clearly well trained and has excellent control even at low volumes, much like Judy Garland. Sadly, that's the best I can say. Other then that, it's pretty much the same "therapy theatre" story of, "...my life sucks/sucked because of X/Y, and here's how I deal/dealt with it..." After hearing such phrases (metaphoric or otherwise) I want an offering. What can you give to me, the audience? For the singing voice and the mildly less depressing outlook on life, this "therapy theatre" session gets 2.25 out of 5 stars. Perhaps this would be better as a motivational speech for high school girls with image issues?
 We took an extended dinner break and conveyed ourselves over to the Bryant Lake Bowl for the first time this Fringe to see Elephant Shoes & Olive Juice, produced by 20% Theatre Company. THIS is what people should be paying money to see - entertainment! This show has something to offer in the form of analyzing how people communicate with each other, and how we fail when the method of communication is considered instead of the message itself. It had more to say then that, but within the first five minutes I was hooked by the premise of six people saying "I Love You" in six different ways, and each recipient being oblivious as a result of their receptor mechanism being limited A) a different form of communication and B) by paying more attention to their own misinterpreted communication. Freakin' genius, I say! This play has a lot to say about social interaction and does so without all those obnoxious words. Beautiful. I would like to have seen more of Katie Kaufmann's clowning brilliance, and maybe an expansion on the opening concepts, but it was one of the better things I've seen. 4.5 out of 5 stars!Totally agree. The entire cast was phenomenal, and each piece was beautifully executed. I just wanted them to go on and on! My favorite bit was a parody of intra-office communication, and how a tech-team overcomes impossible odds to retrieve an offensive e-mail! I can't give it quite the same score as SLOTD or Dipped in Love, but definitely nips at their heels! 4.75 out of 5 stars. Thank, 20%!
Post A Comment | Add to Memories | Tell a Friend | Link
|
|
It's taken us a while to solidify any sort of schedule, but Bethany manufactured a handy way of manipulating the master schedule from the Fringe newspaper, and it seems to be working pretty well. Here's what we've got through Friday.
Wednesday, Aug. 6
5:30 Stupid Face, presented by Courtney Roche
Venue: U of M Xperimental
8:00 Reefer Madness, presented by Young Artists Council
Venue: Bryant Lake Bowl
10:00 Elephant Shoes & Olive Juice, presented by 20% Theatre Company
Venue: Bryant Lake Bowl
Thursday, Aug. 7
5:30 An Inconvenient Squirrel, presented by Joseph Scrimshaw Productions
Venue: U of M Thrust
7:00 A Wake For Change, presented by A-Change
Venue: Kieren's Pub
8:30 School of Rockstars, presented by What Happened Productions
Venue: U of M Thrust
10:00 Gone, Gone, Gone, presented by Monica Rodero & Daniel Schuchart
Venue: Southern Theatre
Friday, Aug. 8
4:00 The Gypsy and the General, presented by 3 Sticks
Venue: Theatre de la Jeune Lune
5:30 Tipping the Bucket, presented by Allegra J. Lingo
Venue: U of M Arena
7:00 The Pumpkin Pie Show, presented by Horse Trade Theater Group
Venue: U of M Thrust
8:30 Sun Tzu's The Art of War, presented by No Refunds Theatre Co.
Venue: U of M Proscenium
And when Saturday morning rolls around, we'll reassess what's left and plot out Saturday and Sunday accordingly. See you there!
Post A Comment | Add to Memories | Tell a Friend | Link
|
|
Well, we're slowly ramping back up to solid Fringing, but still didn't fill all 4 slots tonight... Okay, that sounded dirty. At any rate, we saw three shows.
 The first performance we caught tonight was Charlie Bethel's Beowulf or Gilgamesh: You Decide! I'm going to start with the rating (4 out of 5 stars) and then explain. First off, I think Mr. Bethel's performances are something that all aspiring storytellers should be required to attend. He's warm and inviting without being detrimentally casual. He engages the audience without making them feel uncomfortable. And, he is the epitome of precision. He enunciates clearly, he applies appropriate breath support, and distinctly varies all those elements of performance we learned in high school and college forensics. So, the question is, what went wrong with the piece? Nothing, really. This is just a matter of opinion. I've noticed that many storytellers don't seem to take their craft as seriously from an appearance and presentation standpoint as they ought to. While Mr. Bethel's vocal and energy aspects were highly professional, there was just something about seeing it in an un-tucked shirt, jeans, and loafers that detracted from the piece. Tux? No. But something more befitting of the material.
Charlie Bethel is a phenomenal performer. Last year's Tom Thumb was easily the best one-man show I've ever seen. Beowulf was very well told in Charlie's crisp, precise, highly charismatic style. I particularly liked the way that his formal language would occasionally give way to modern-day lingo with a wink at the audience. (I would have loved to hear Bethel include a few lines of the original text, but that's the English major geek in me.) The performance was less disciplined than Tom Thumb, but I think Bethel performed Beowulf exactly as he intended to - deliberately delivering a high-falootin' text in an accessible, enjoyable way. I give it 4 out of 5 stars.
 We skipped the 7:00 in favor of dinner, and then headed to the Ritz Theater (have I mentioned how much I fucking love that space?) for Lili's Burlesque Review, or The Underpants Show. Given Lili's reputation, I expected to be wowed. Alas, no. The good: some of the dance numbers were phenomenal - particularly the UPS guy who danced with his dolly! In fact, each individual act had something really valuable to offer. The bad: 8 minutes late on the start time. Fringe audiences are accustomed to the tight schedules, so when the band played yet another lead-in song, everyone was wondering what we were waiting for. Also, a general lack of energy, and some sloppiness in the group numbers. I got the feeling that Lili's hadn't done a ton of prep as a company, though individuals obviously did their homework. I give it 3.25 out of 5 stars. HEY! Women took their clothes off, how could you possibly be disappointed?! Okay, I agree with the starting late thing. While the show only ended 2 minutes late, I was concerned with the late start as we needed to get to Mixed Blood in a hurry. When I thought we were going to be watching a band concert instead of burlesque, I think I might have started to foam at the mouth. However, I was quickly put at ease when the singing started. I really enjoy the vaudeville format, and was wowed by two performers in particular. The delivery guy with the dolly was wonderful and totally unexpected, and the salsa dancing woman in black left my jaw on the floor in respect for the control she had over her hips. I'd say 3.5 out of 5 stars, as I don't believe this was really intended as a Fringe show. I think it was intended as an investment in marketing. How many people were exposed to Lili's that had never been to burlesque before?
 Then, onto our final performance of the night, JACK by Eric Van Wyk. I'll be perfectly honest with you, I have my reservations about puppetry. For some odd reason, the image of a possessed John Malkovich doing the mediocre bidding of John Cusack always comes to mind whenever someone brings it up. Normally, though, my fears are quickly put to rest and I'm reassured by the clever and crisp performances of the puppeteers in question. Long story short, that was not the case this time. The piece is sorely lacking in polish. There are massive gaps in time where something could be happening. There are times when the puppets don't react to what's happening. Keep in mind, there's only one puppeteer. I can understand if there were two or more, that sometimes one will not see what another is doing, but when it's only one person... On the plus side, some of the puppets are beautiful and the unit-set is quaint and fascinating. There was just too little polish and too much space for this to be enjoyable. Great concept, but I'd like to see it a few months from now. 1.5 out of 5 stars.
Same rating for me. I think this show was either under-rehearsed, or short one puppeteer. The director really needed to give the artist help in precision and timing. However, the concept was interesting, some of the materials were beautiful, and there was Tom Waits playing in the background so it had a few merits.
Ooh! Look at that! It's 1:30 in the AM. French Silk pie and vodka cranberry are digesting in our tummies and making us sleepy. Time to say "G'night, Fringe! See you tomorrow!"
Post A Comment | Add to Memories | Tell a Friend | Link
|
|
Monday, Monday, Monday!!
I had a brief conversation with Allegra Lingo in which she indicated that Fringe Monday is usually the lightest day of the Fringe, as it's hard to get people out after a long weekend and the beginning of a brand new work week. I had to admit that we, too, took it easy today, only seeing two shows.
 The first piece we took in today was New Theatre Group's American Sexy. Since the show was promoted by referring back to last year's hilarious romp Killer Smile, I spent entirely too much time comparing, and was disappointed. However, since Bethany hadn't seen last year's piece, I'll let her take this one on her own.
I was not impressed. The play was misogynistic (yes, I see that it was written by a woman. So was last year's Shelf Life of Sympathy). and unrefined. The end payoff was minimal, considering that nine tenths of the play was a series of Theatre-101 scene studies about girls who humiliate themselves for attention. Had the play addressed the fact that girls don't behave this way from birth, that they are conditioned by a patriarchal society to degrade themselves in exchange for the semblance of approval, then I might be more inclined to give it a favorable review. I wonder if the author was relying on the aptitude of her audience? Did she expect us to make those connections ourselves, without the help of text? If so, then I'd say her expectations do not serve her art. The acting was decent, and so I'll give it 2.5 out of 5 stars.
 Next, we headed across town to the Ritz Theater (gorgeous space!) for The Chasm. This is one of those cases - a very strong production of a play that I am not able to connect with. The show features Spanish poetry with English subtitles projected on a huge wall behind the actors. Using fabric and mirrors, a ensemble of beautiful women in white dresses tell their story in movement and spoken word. I was overcome by the beauty of some of the stage pictures, but as someone who is unfamiliar with the poetry of Gabriela Mistral and unfortunately monolingual, I felt like I was watching this piece from the outside. I'm going to defer to Scot's rating on this one. By the way, please raise the subtitles above the actors heads so that audience members can read the text.I have to admit that I'm a bit of a dance "outsider" at times. However, I have seen very few performances of dance pieces that I didn't like, so I'd like to claim that I'm a great appreciator of dance. For this one, though, I have to throw my hands up and admit, "I don't get it." It's very well rehearsed, and remarkably polished, so for those who "get" the poetry and dance involved better than I, you will certainly enjoy the piece. I enjoyed it, but didn't process much. One thing I do want to critique is the mirrors. Great concept, but there are times that concept has to take a back seat to audience comfort. Aim those things away from the audience, folks. I think I'm still seeing spots. For the preparation and the aforementioned stunning visual aspects of the show, it nets a solid 3.5 out of 5 stars.And we'll be back on Wednesday morning with a recap of Tuesday night's entertainment. We apologize that we haven't been updating with our schedule in advance as we had hoped, but there have been rapid schedule adjustments that we just didn't anticipate. Thanks for understanding.
2 Comments | Post A Comment | Add to Memories | Tell a Friend | Link
Sunday.
 We went to the 1:00 PM performance of Boom, written and performed by Andrew Connor. I loved this show - loved it. Andrew's writing is complex, cerebral, and fully human. If I get a chance to go back for a second viewing of any show, it'll be Boom. The show is quite layered, and there are intricacies that can be better appreciated the second time around. Andrew plays 13 (or more?) characters - each one is distinct and realized. My favorite is 6-year-old Rosie, a prodigy bomb-maker in training. My instinct is to give it 4.5 out of 5 stars, but I really don't know what I'd be docking the half-star for.
I do. The show didn't knock me out of my seat. The pacing is very consistent, almost to the point of lulling the audience into complacency. It is very impressive to watch one actor put out that much energy for that long, but the breaks are too few, and too far apart to qualify as the variance in tempo. That aside, there's nothing I can really complain about either. The 4.5 sticks.
 This next review is the most difficult one for me, and I'm going to tread carefully. Allison Broeren gives an extremely personal performance in her veteran storytelling production, I'll Marry You for Health Insurance, and Other Shocking Revelations. The first thing I thought upon leaving the Rarig's Experimental space after the show was, "How authentic and raw!" However, after further processing, that thought changed to, "Have I just been manipulated?" Not with any ill intent, mind you, but manipulated nonetheless. It's very difficult to be critical of a show that is this personal, but as a piece of theatre/storytelling, we have to be. Allison is a wonderful storyteller, but there is a difference between sharing something personal in the context that it can help us forward our lives and the lives of others (like her section on the B.S. that is the U.S. heathcare system), and sharing something because the performer feels like venting their own personal struggles. Had she kept the presentation within that context, and not delved into coffee-house confessional, I think I would have felt less manipulated. I'd say it's a 3.5 out of 5 star performance, and certainly one that all Health-Insurance executives should be forced to see.
For the aspects of the performance that dealt with the U.S. healthcare system and corporate policy, I give the show 3.75 out of 5 stars. For the lack of discipline that lead Allison off track on tangents about her childhood dreams, etc... I have to dock 1.5 stars. Theatre is and should always be about the audience - NOT the performer. The performer is the delivery device. The performer's job is to serve the material, which should always strive to connect with/affect its audience. My score: 2.75 out of 5 stars.
 Next, we took a Pizza Luce break (needed to satisfy the pizza craving that began at Saturday night's performance at the Southern). Side Note: Thank you, Pizza Luce, for your vegan Lil' Gracie! I love you! After satisfying the pizza-need, we headed back to Rarig for Bedlam's You're No Fun, a West-Bank musical about West-Bankers who put on a musical. I give it 4 out of 5 stars for being funny and well-executed. 2 out of 5 stars for being yet another spoof on the musical-comedy formula, and yet another musical about the making of a musical. So, my grand total is 3 out of 5 stars.
Okay, that grading system got too complex for me, so I'll just go with the 3 out of 5 stars. Here's why. As well executed as the production is, it's just a premise. There's no explanation as to why the relationship between the two main characters ended, and no resolution to the relationship at the end. All it's about is a woman writing a musical about an ex. I need a "why" and some sort of payoff for the story, other than just seeing guys in drag.
 The Rarig Thrust hosted us for the whole night, next yielding The Cody Rivers Show Presents: Stick to Glue. First and foremost, this production is a clinic in preparation, timing, precision, and just plain hard work. For any of the lesser, ill-prepared shows of the festival, take some time out of your week and SEE THIS SHOW! It will give you some idea of how preparation alone can help you to stand above the rest. I missed their show last year, so I was pleased to squeeze it in early this year (as show #16). These guys rehearse like fiends, prepare like maniacs, and put out like $2... well, let's just say they give you more than your money's worth as far as energy goes. It's a 5-star show all around.Totally agree with Scot - this is an amazing demonstration of skill and precision. Honestly, I liked Boom a little better, because I always prefer shows that appeal to me on an emotional level. I was completely wow-ed, but it didn't get at my gut. I give it 4.5 out of 5 , just 'cause I can't give it a better score than it's little sister, Boom.
Now, a tangent. What IS it with Minnesotans who stand up like $2.... well, let's just say that Minnesotans need to seriously reevaluate the qualifying factors for a standing ovation. People, don't stand up because it's shiny and expensive-looking. People, don't stand up because you're "I'm oh-so-cultured" buddy tells you that it's best art in the country. People, don't stand up because your grandchild is taking his/her bow. And for the love of all that is sacred. People! DON'T stand up because everyone else is standing up and you can't see the curtain call, or god forbid people should think that you didn't "get it." A Standing Ovation is a high honor that should be reserved for truly sublime performances. You should be compelled to stand because clapping alone cannot express your gratitude for the incredible gift you have just received. If you go to 20 shows per year, and stand once every two or three years, you're doing it right. And if you are the only one standing, that's absolutely fine because you are standing for the right reasons. Tangent complete.
 After the Cody Rivers show, we got right back in the ticket line for the 10:00 PM Four Humors presentation of Mortem Capiendum. 4.5 out of 5 stars. These guys are great, and the script is wonderful. All three actors create absolutely wonderful characters. After 4 days of Fringing, I was tired and hungry and a little cranky - it's fair to say that even a decent show would not have held my attention. But I was totally engaged in this performance for every minute of it. Like Boom, the script is layered, and so audience members might benefit from a second viewing in order to fully understand the story. The script is fairly well worked, but has some logistical holes it never fills in, and it invites conversation which is derivative but irrelevant to the intention of the piece. After the nitpicking, I'll concur with the 4.5 out of 5 stars. Four Humours regularly puts up a remarkable Fringe offering, and this is no different. Great work guys.
Oh, then we biked home in the pouring rain. Two thumbs down and -5 out of 5 stars to the asshole Minneapolis police officer who followed us across a BICYCLE bridge and nearly killed us when he refused to honk prior to passing. Jerk. 5 out of 5 stars for the key lime pie that made it all better. ;-)
3 Comments | Post A Comment | Add to Memories | Tell a Friend | Link
|
|
Oops! Okay, so we got a little busy seeing shows, that we lost the time to post about them. First of all, special thanks to Matthew Foster who linked to us from the Fringe site! I hope that all directed here find some useful info. Now, on to the theatre:
 Saturday netted some great shows. First of all was Shakespeare's Land of the Dead by Walking Shadow Productions. Holy crap! For my money, this is our second 5-star experience. The script is ridiculously clever, sprinkled liberally with well-timed bard quotations, and punchy banter. Heimbuch's script leaves nothing to be desired and provides the actors with everything they need to inhabit the role. If you're going to see shows with elevated material, don't DARE miss this one.
Definitely 5-stars, and not just 'cause I'm a Shakespeare dork! The show is just plain well written, well directed, well acted, well done! I was thoroughly entertained. The only critique I would offer would be to the actors: hit the diction a bit harder in the opening 10 minutes. People were still filing in from the entrance after the show started, and the shuffling mixed with slightly mushy consonants, which made the opening dialog hard to understand. But seriously - bravo!
 After SLOTD, we biked over to the Mixed Blood theater and saw Get it OFF YOUR CHEST!, written and performed by Mary Helena. Honestly, I think that this performer has a lot going for her. Her passion is engaging, her voice is gorgeous, and her characters are compelling. Her subject matter, however, was not my cup of tea. I am not religious, and so I do get just a wee bit uncomfortable when people discuss their chosen religion. Also, I am very strict about "therapy theatre," in which a performer's work ceases to be socially applicable/ceases to serve a story, and becomes about them. Storytelling pieces and solo performances are particularly prone to falling in to this trap. Now here's the big disclaimer: If you are comfortable with discussion of Christian spirituality, and you are comfortable with a small amount of self-indulgence on stage, then you will love this show. Mary Helena has something to say, and what she says is relevant and beautiful - just not my preferred brand. Back to you, One-T.I don't have a problem with people discussing religion in their pieces. I think that falls into the vein of discussing politics in theatre as well, which we'll get to later. Theatre is a place for people to attempt secular exposure to these things, and it's up to the audience to think for themselves. For people who are firm in their convictions, this can make them uncomfortable (or very comfortable, depending). I think that if you're somewhere in the middle, this may actually be a good show for you on that subject matter, because it will require you to think, and the subject is constructively addressed. Apart from the religious tack, I think the show could use some tightening up. Some of it's technical, some of it's textual, but it could flow better. The authenticity cannot be beat, though, and I think we'll give her 3 out of 5 stars on the strength of that honesty.
 We took a quick snack break (Bethany would like to extol the virtues of the Seward Co-op's vegan, lemon-iced cookies at this point) and sat back down in the Mixed Blood for Orange, produced by Questionable Company Theatre. I think the Fringe is a great place for people to try out new scripts, and this was definitely new. Perhaps a little too new, as the material needed more vetting. Functionally, it served as an opportunity for the lead character to kiss every other character at some point, and some tasteful sexual content. Artistically, however, we miss the point as the plot gets lost in the myriad attempts to draw our attention to the script's cleverness, instead of the story. Great idea, but editing and rewriting is needed.Meh. For being textbook-definition Fringe-Fare (new, low-brow-but-clever, contemporary), I'll give it 3 out of 5. For being kinda not-so-great Fringe-Fare, I'll give it 2 out of 5. Total: 2.5 out of 5 stars. And on we go.
 We took a dinner-and-blog break, and then biked back to Rarig for Boys Don't Make Passes at Girls Who Wear Glasses. This is a storytelling piece, featuring two self-proclaimed nerds who revisit their personal nerd histories in cleverly worded monologues. I know that people loved it - the audience laughed and just generally connected with the performers. I couldn't relate to their stories on any sort of personal level, so I wound up enjoying the performance for its wit and its obvious ability to make people-who-aren't-me feel all warm and fuzzy. 3 out of 5 stars. Scot?Storytelling is a slippery slope for all the reasons Bethany mentioned, plus one she didn't. Using the script is totally cool, as long as it's there for a reference point. However, if you're going to ask people to shell out 12 dollars for theatre, you should make sure you're comfortable enough with the material that you're not saying things like, "Care to join me up here?" when your partner loses their place. That aside, the material was pretty good storytelling fare, but nothing that knocked it out of the park. I'll agree with Bethany's rating.
 And now for our review of Pizza, Amore & Fantasy by Carlo Cicala... ... ... Ooh boy...
Ooh boy...
Yeah...
Yeah...
Uh, well, let's start with the fact that there was free pizza. There was free pizza. Okay, there's that.
Stop dawdling, Scot!
Okay... Well, I'd like to first address the audience of this show. This is the first time I've ever blamed an audience (in part) for the failings of a performance. 1. When someone offers you free pizza, it's a really rude thing to get up and walk out of the theatre. Keep that in mind next time, okay? 2. People in the United States are absolute wimps when it comes to discussing politics in theatrical performances. We were the ONLY people in the theatre that even attempted sympathy laughter at this. That being said, this is not a theatre piece. It's High School forensics Demonstration speaking. I suppose you can call it theatre, but it was ill-prepared as a theatre piece, and too poorly researched to be a political speech, so it fell in the cracks in between. I can't give more than 1 star. But, if you're looking for free pizza at the Fringe, this is where you'll find it!
Punch Pizza's pizza rocks.
Yes? Good? On we go!
We left the Southern Theater and biked over to the Bedlam for the opening party of the Fringe Festival. I give the party 4.5 out of 5 stars. (No pink cupcakes, so I have to dock that half-star.)
Post A Comment | Add to Memories | Tell a Friend | Link
Okay, we know what you've been thinking, "They said they were going to blog. Where the hell are they?!" Well, we've been seeing shows, and haven't had much time to write. But, here we are! Just as a side note, we won't have photos in the blog, so make sure you click on the links to get to the corresponding Fringe pages!
Here's Thursday Night!
The first show we saw was ![[info]](http://l-stat.livejournal.com/img/userinfo.gif) missmollygrue's As If In Relief, which was very good. Nice work, Sarah! (if you're wondering why there's no review - see the previous post)
 Next on the docket was Musical the Musical! by Urban Samurai Productions. I thought it was highly entertaining. There were some wonderful voices (particularly those of Kecia Rehkamp and Ryan Grimes) and an all around solid cast, who gave tons of energy to the performance. There was also quite a bit more choreography than I ever would have expected from a Fringe show. However... The script teetered (and eventually slipped) on the line from satire to plain old lack of taste and offensiveness. Most of the characters were clever satires of their usual musical counterparts, but one character was no satire at all. Rather, I felt they were a study in how much the actor felt like degrading themselves (despite the fact that they appear to be a fantastic performer).
There's that, and the fact that they desperately need monitors. All of the performers were gifted singers, but couldn't hear the music well enough to not get almost a half bar off in some places. Eek! That should probably have been worked out in advance, though the Fringe does throw us all some curves that we might not be prepared for. So, on the strength of the performances alone, I'd have to give this one 3 out of 5 stars. Not a must see, but you won't be denied some well-rehearsed music and dance.Ditto that, One-T. The first thing that popped in to my head walking out of the theater was "good execution, but the filter was missing."
 Next, we saw A Murder at Work by Traudtrikt Productions. Hoo-boy! I swear they must have written and rehearsed this thing on Wednesday night! The concept was entertaining enough, though lacking in relevance, but the ideas were half baked in to wooden dialogue that was delivered (for the most part) as lifelessly as it was written. Ashley Kosiak gave a good performance as the punky, disgruntled temp. Otherwise, the acting was not so hot. This is one to avoid, despite the awesome promotion photo.What Bethany isn't telling you is that during one of the blackouts she leaned over to me and said, "We could leave right now and no one would know," to which I replied, "You're damned right," though we were both charitable enough to suffer through the remainder of the piece. For Ashley's performance alone, we'll afford the show 1 out of 5 stars. People, we gave part of our Thursday night so you don't have to... unless you're a friend of Ashley's, then you should support her... and get her drunk afterwards... Okay, I'm done. Moving on!
Now for Friday Night!
 Bethany sneaked out of work early on Friday so we could make the 5:30 performance of Behemoth Productions' The Legend of Little Bad: Not Her Father's Fairytale. I'm not a big fan of children's shows, but I think they did a great job with this one. Considering I'm not much into audience participation, I think my apprecio-meter is off, so I'll let Bethany tackle this one.I liked it very much! Very witty, very fun! Actors need to focus a bit more on their diction, and maybe slow down their speech in a couple of areas (vocal clarity is particularly important in Children's Theatre). But other than that, great job, Behemoth! My particular favorite was Andy Chambers as an enchanted tango-dancing Swan Prince, serendipitously living in the same forest as an enchanted tango-dancing ugly step-sister (Erin Busby). I recommend it to families with children ages 3-11. 3.5 out of 5 stars.
 Next, we saw Theatre Mu's Dipped In Love. It was marvelous! Beautifully written material, brilliantly executed by the play's three actresses. The play is about women from different cultures who find strength in creating their own community and establishing their independance. I was delighted by the play's humor, and deeply moved by its honesty. I think that this play might appeal more to women than to men, but for my part, it gets 5 out of 5 stars! Thank you, Mu!It's always nice to go to your first 5-star show early on, so you don't start wondering about things. This show was spectacular for its honesty. Bethany's right that it will appeal more to women than men, but men should pay attention to what it says. It is in no way speaking poorly about men. Rather it gives them a way to redeem themselves, but only if they listen. Ya hear that?!
 Now for Chris Knutson's Waking in Minneapolis. To start off with, the wording of the title wasn't exactly what I thought it would mean. Nice entandre, there, Chris! To be perfectly honest, I originally thought it said Walking in Minneapolis. But I'm not that smart sometimes. Anyhow, this play was far more prepared than your run-of-the-mill fringe show. However, the material didn't live up to the preparation. Some of it was downright hokey in the face of some of the broader messages the play tackles. The cop scene was utterly ridiculous. However, the play had several saving graces, not the least of which being Tiffanie Kilgast. For a while the you were wondering whether the play was going to pick up from the rut it initially dug for itself, but she added some well-deserved breath to the piece.
Actually, I disagree, One-T! (I made rhyme!) I thought it was a pretty decent show. There were definitely some problems with it, not the least of which was three-quarters-baked dialogue, but I thought the piece in general was pretty interesting. In the end, the play is a celebration of life attained in the acceptance of mortality. As the show ended, I felt satisfied that I had invested in characters that grew and learned something in the course of their brief journeys on the stage. 3 out of 5 stars for me.
 Lastly, we saw White Elephant's Lysistrata 2.0 at the Southern. I really enjoyed that show! The men take it on the head (in more ways than one!), and the women revel in their self-sacrificing acts of withholding in the name of Peace. Special props to Matt Kraft's character for allowing himself to be stripped, bound, blidfolded, and humiliated by his wife - all with his cock hanging out of his pants! 4 out of 5 stars for me. One-T?
Yep. Mad props to all the guys who showed off their "talent." You definitely won't be let down with this one, folks.
Tomorrow (or early Monday) we'll review this weekend's performances, so stay tuned!
2 Comments | Post A Comment | Add to Memories | Tell a Friend | Link
Here's our schedule for Thursday and Friday. The 5:30 PM slot for Friday is up in the air because we'll both be coming from downtown Minneapolis at 5:00 PM. T minus 21 hours and counting!
Thu., Jul. 31
7:00 p.m. As If In Relief, presented by Zealots + Mystic
Venue: U of M Thrust
8:30 p.m. Musical the Musical!, presented by Urban Samurai Productions
Venue: U of M Proscenium
10:00 p.m. A Murder At Work, presented by Traudtrikt Productions
Venue: U of M Proscenium
Fri., Aug. 1
5:30 p.m. The Legend of Little Bad: Not Her Father's Fairytale, presented by Behemoth Theatre Company
Venue: U of M Proscenium
5:30 p.m. Silent Poetry - A Tribute To Marcel Marceau, presented by Dean Hatton
Venue: Mixed Blood
7:00 p.m. Dipped In Love, presented by Mu Performing Arts
Venue: Mixed Blood
8:30 p.m. Waking in Minneapolis, presented by Chris Knutson
Venue: Mixed Blood
10:00 p.m. Lysistrata 2.0, presented by White Elephant
Venue: Southern Theater
See you there!
Post A Comment | Add to Memories | Tell a Friend | Link
|
|
Welcome! ...to the 2008 Fringe blog of One T! AND!!! ...Bethany Ford. We decided that since we were Fringing together, that we should have a common place to post our reviews and commentary. So, I will be posting in blue, and I will be posting in pink, 'cause I like pink so there (that was Bethany).
That being said, I was at work the other day and started thinking about a funny way to kick off Fringe '08. I somehow mentally veered off onto "Christmas in July" and ended up with the following:
'Twas the night before Fringing and all through the town,
Every creature was stirring, getting' ready to throw down.
The Fringe flags were hung by the stage doors with care,
In the hopes that the patrons all soon would be there.
The actors were rehearsing, avoiding their beds,
With visions of standing O's locked in their heads.
Dominic in his kerchief and John in his cap,
Were fearing but the worst – reviewing all crap.
They all ate their meals, enjoying the sizzle,
Dreaming of big crowds and lots of lewd whistles.
And here I exclaim 'ere I bid you good night
Happy Fringing to all, and may you stand in the light!
Awwwww....... One T! That is, like, so suh-weeeeeeeet! (cough! cough! sap! cough!)
Thanks, Bethany! I spent a solid hour on that... which I can say since this website is blocked from work and no one there would find out anyway. ;-) We'll be reviewing our Fringe schedule as tonight progresses and will let you know what we're going to see so you can meet us there! ...ya know... like, if you want to... and stuff.
Now, without further ado, I'd like to pimp the ONE and only show I will be seeing but will not be reviewing:
 As If In Relief is a one-woman show produced (lightly) by Zealots + Mystics, and written and performed by Sarah Martin (known in LJ land as missmollygrue). Admittedly, I have not seen it. However, I've been privy to quite a bit of the material, and managed to catch her storytelling act on a podcast on MPR a month or so ago (Sarah, if you have the link, could you post it? I don't have it anymore).
Sarah is a phenomenal writer, and wonderful performer. We'll be seeing her tomorrow night at 7pm on the Rarig Center thrust. There are five other performances, though, so don't miss it! I'll let her fringe page speak for itself.
Sarah played Mrs Dashwood for me in Cromulent Shakespeare Co.'s April production of Sense and Sensibility. She is really wonderful to watch! She has great vitality and joy, well tempered with honesty. I am looking forward to seeing her back on the stage!
2 Comments | Post A Comment | Add to Memories | Tell a Friend | Link
|
|
|
|
|
optimistic