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On the Fringe |
What was worth seeing at The New York International Fringe Festival? Our guide to the good, bad, and ugly. |
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The 2003 festival ran from August 8th through August 24th. |
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Along the Way
The vocal group Bob Ross Juice Box has created a fast-paced, frankly charming
a capella musical about six twentysomethings trying to make it in the big
city. We see them on the N train (Megan is trying to get a seat so she can
do her makeup; Ali pines for her ex-boyfriend as she passes his stop) and
then in various scenes above ground (Sophia the yuppie is trying to follow
her bliss; Peter is trying to decide if he should move out of the city since
he's about to be a father). While some of the lyrics, particularly in the
title song, are a little precious, the show has much in common with Avenue
Q. The characters' love for-and frustration with-New York is the subject of
nearly every song: the inner rage engendered by temping, the mystery of Dr.
Zizmor, the gay subtext of découpage, and that scary guy in Times Square who
dances with a lifelike doll. Looks like a sleeper hit to us. Ada
Calhoun |
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American Fabulous
In real life, Jeffrey Strouth was a Midwestern drifter and amateur
entertainer who ended up a fixture on the early eighties Manhattan nightlife
scene. In the one-man show American Fabulous, star Troy Carson, who adapted
the script from Strouth's own writing, recreates the Ohio native's journey
from broken-home upbringing to prostitution to, ultimately, a gig at the
legendary downtown club Area. Carson, who also produced the play, deserves
credit for bringing this fascinating story to the stage down to the last
detail (even though it required him to wear a fringed cowboy shirt). Still,
the acting could be more precise, the writing is frequently repetitive, and
the jokes are seldom funny. Sean Kennedy |
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Becky and Noelle: Investigating the Bucket
Don't go into Becky Poole and Noelle Romano's bizarre and surprisingly
hilarious variety hour expecting discernible punch lines. Their offbeat
humor is all about the delivery, as in the opening scene, when Noelle plays
a Russian peasant doing stand-up along with the somber tones provided by her
accordion-playing sidekick. She uses a glare to the audience and a knee jerk
to punctuate "jokes" like "I had a dream I was eating a giant marshmallow.
When I woke up, my mother was gone." In addition to offering random skits,
like ingenious imitations of "important" couples from Sonny and Cher to "two
Italian guys stuck in the same shirt," the show also serves up an
autobiographical account of their childhoodsBecky was prom queen, Noelle a
misanthropic losertold through tap dances and songs, many of which involve
Becky's expert saw playing. Is the show cohesive? No. Does it matter? No
again. Just roll with these girls. One of the most purely enjoyable
experiences we've ever had at Fringe. Jada Yuan
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Blake. . . Da Musical
"It's a story of love, a story of hate / The tragedy of Bonny and Blake. .
." goes the catchy opening song of this deliriously funny, utterly adorable
musical based on the real-life murder of Bonny Blake by her husband Robert,
the star of the seventies TV show Baretta. Is it bad taste to do a show
about a murder victim? Sure, but writer-director-star Rick Batalla is
remarkably affectionate towards his subjects. Forces are consipring against
the Blakes, specifically Bonny's "Fairy White Trash Star Fucker Grandmother"
and Robert's jealous Baretta co-star, a bird named Fred. Bonny (played by a
divine Meleney Humphrey) may be a ditz and a slut, and unable to bend her
legs because her jeans are so tight, but she's sincere. Every moment in the
show is more endearingly absurd than the next, from the power ballad about
Robert's dyslexia to the final song with its powerful moral about how
tragedies like this might be avoided in the future: "Duck!"
Ada Calhoun
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"Buddy" Cianci: The Musical
Professionalism has been on the rise at Fringe ever since Urinetown hit big,
and with a big-voiced Off Broadway-caliber cast (notably David Stern in the
lead), this trip through the life of Vincent "Buddy" Ciancithe wildly
corrupt, highly entertaining former mayor of Providence, Rhode
Islandcontinues the trend. But skilled performers can't make up for a
script that actually decreases our interest in the man who, while in office,
was convicted of kidnapping his ex-wife's presumed lover, only to be
incarcerated for racketeering during his second stint as mayor. The
salsa-tinged "May I Shake Your Hand" and "The Armpit of New England"
(Providence's nickname before Buddy cleaned things up) add spice, but mostly
this feels like a very reverential political science lecture. One
headline-making event follows another-Buddy hires crow-bar-wielding
strikebreakers! Buddy uses building contracts to pay favors! This isn't a
portrait; it's a greatest-hits reel, neither capturing the appeal of
wrongdoing like The Producers, nor creating a fearsome icon like All the
King's Men. Jada
Yuan |
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Caresses
Whatever "dark intelligence" Variety saw in this Catalan drama is absent in
this show's North American premiere. Based on Schnitzler's La Ronde, each
scene explores the relationship between two characters-husband and wife,
father and daughter, boy and homeless man-aiming to provide insight into
love. The actors' emotional meters seem permanently pointed to angry,
pathetic, or crazy. They pause at unnatural points and step on each others'
lines-lines that often seem to have no topical correlation. And while we
didn't need to see a real-time blow-job pantomime (as in 10 minutes of
grunting and head-bobbing) or a nude enactment of a father taking a bath
with his adolescent son, we were more appalled by the script's unrelenting
strings of curse words-is "slut bitch whore" more insulting than any of
those terms on its own? Jada
Yuan |
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Cats Talk Back
If you've been plagued these past few years with unanswered questions about
the closed "Broadway smash hit" Cats (Were some of the felines lovers? How
does one become a "cat"?) look no further. From a sold-out run at the
student-operated Yale Cabaret in 2001 comes this delightful, if
inconsequential, imagined panel discussion with five former cast members,
each in varying stages of decline, from the eighteen-year vet Monique
(Jackson Gay) whose fingers can now form only claws to the gloriously
self-absorbed Hector (a terrific Frank Liotti), who has his head shot and
résumé waiting for you at the door. The renditions of the lost "Cats Kill"
number-about mauling a three-year-old girl-and the Method discussions may be
a bit too drama-student for Fringe, but, as Hector says, "You Fringe
Festival people think that because you live in Williamsburg and eat ramen
noodles you're serious artists doing real theater. But. . . if Broadway ever
came knocking, you'd be running as fast as you can say Urinetown!" Jada Yuan
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The Celebrated Jumping Frog of Calaveras County
A brilliantly funny adaptation of the Mark Twain short story, perhaps as
imagined by the Coen brothers, Jumping Frog is a musical retelling of the
fortunes and misfortunes of Jim Smiley, a happy-go-unlucky gambling addict
who wanders into Calaveras County and winds up married to the lovely Molly
Wheeler. Trouble soon arrives in the form of Virgil Slade, "a real bad egg"
who's all too eager to take advantage of impulse-control-impaired Jim. The
production manages to be both old-timey and postmodern, as the
Calaverasitesincluding Ham Sandwich, a reluctant lug of a performer who'd
rather be out on a date, and Louella, a lisping puppeteer who gets the
show's best linesre-enact their own roles in Jim's downfall, with hilarious
results. Matt Gross
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Comedy for Dummies
"Grade Seven Theater" is just one of the many skits in this hourlong
collection of Second City-style bits by a threesome of Canadians. The
gimmick is that it's supposedly written by seventh-graders, and the themes
are what you'd expect from prepubescent boys-human excrement, "my first
boner," and the like. In the end, they're about as funny as the jokes
proffered in junior-high locker rooms. But while it's easy to forgive
seventh graders for poor taste and puerility, it's not quite so easy to
forgive grown men. The three actors presumably teaching the audience about
sketch comedy spend much of their time unintentionally demonstrating
pitfalls to avoid, like poor timing and Saturday Night Live-style premise
overload. There are some chuckleworthy moments, though. One sketch, in which
a woman in her twenties learns that she is not, in fact, mentally challenged
brought down the house (you had to be there). Clearly, un-PC humor appeals
to grownups, too. Ellen Carpenter |
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Drip
The charming absurdist comedy Dripfrom Attic People, a company of seven
graduates of the famed Parisian Lecoq schooltakes a cue from Urinetown and
turns water conservationists into gleefully maniacal villains. We join our
hero Ben (Max Dana), a quiet dreamer who loves baths, as he is moving into
the bizarre community of Cracker Valley on the eve of their Annual Friendly
Water Conservation Contest. Having lost last year to an old folks' home,
each of Ben's neighbors is adhering to the mantra "Touch the tap, get a
slap!" Clear beneficiaries of 70-plus performances in Europe (they won the
award for best physical comedy at Edinburgh Fringe), this tight act
contrasts stark miming in the building (plodding up stairs, slamming doors)
with fluid, highly-choreographed dream sequences (complete with mood
lighting and music) during Ben's baths. And though the characters grow
increasingly more sadistic, it's ultimately the sweet story of how love and
an incorrigible spirit can leave a mob and its mentality all wet.Jada Yuan
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expat/inferno
Alejandro Morales's smart expat/inferno uses both the American overseas
experience and Dante's Inferno to create a kind of otherworldly urban
European fantasia. Appropriating major elements from Dante and set in Paris
after 9/11, the play depicts one young New Yorker coming to grips with the
mysterious loss of his boyfriend. In the process, he is followed by an older
woman who may or may not be his mother and seduced by a punk-rock
bookkeeper, and has a date with destiny at the club L'Infernoall while
repeatedly bumping into an antidepressant-popping lounge singer named
Beatrice who wears a flame-red cocktail dress and always seems to have a
glass of champagne in her hand. By turns very funny and touching, not least
because of the convincing cast. Sean Kennedy |
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Exploring Dementia!
Really, the only problem with this show is its name. Wrongly subtitled
"the show your mom was afraid of," this eight-sketch comedy isn't
so much a disturbing look at characters going mad but rather an hour
of light-hearted fun. Written and performed by Will Matthews and Cassandra
Smith, the show takes you through the gamut of comedic styles, from
screwball to slapstick and even noir. Whether sharing the stage or
acting alone, Matthews and Smith exhibit an enthusiasm for performance
that is as refreshing as it is entertaining. Matthews shines as a
wannabe British punk rocker, and Smith displays her flair for physical
comedy as an over-the-top sports mom (very Cheri Oteri). The best
of the scenes is the last, where the two hilariously speed-talk their
way through the entire sketch while pretending they are trying to
outdo one another. No, Exploring Dementia! is not the show
your mom was afraid of. But it's certainly a show that these two breakthrough
performers's momsas well as they themselvescan be proud
of. E. J. Samson |
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Freedom of Speech
Eliza Jane SchneiderAnna Deavere Smith crossed with Amy Sedarisuncannily
channels some 30 real-life Americans and their crazy-quilt stories in her
tour-de-force one-woman show Freedom of Speech. Billed as a "documentary"
play, Schneider, whose day job is doing the voices for numerous characters
on South Park, spent 10 years traversing the country and interviewing the
people she ran into, ostensibly studying local dialects. Though a book
documenting her research is in the works, the immediate fruit of her efforts
is this remarkable showcase of average citizens speaking their minds, from a
Chippewa Indian artist in Minnesota to a turkey-hunting Arkansan fiddler who
plays an awe-inspiring "Devil Went Down to Georgia." Schneider doesn't so
much act as literally summon each person right before your eyes.
Sean Kennedy |
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The Geldings
Because men don't talk about their, ahem, Old Chaps enough already, now we
have a play that really drives the subject home. In this Western-style
farce, we meet the Gelding brothers, a trio of country boys with no bulges
in their pants. Handsome Flem Gelding, the eldest, has a bright idea of
faking a John Thomas by keeping a smalland very much aliverodent in his
underwear to impress the Widow Claire at the local saloon. But no
vermineven sans clawscan make up for a missing Mr. Happy. The thing is,
that's not all that's missing from this play. What about acting, direction,
and dialogue? One the up side, the Singing Cowboybasically the Jonathan
Richman character in There's Something About Marysums up the absurdity of
the scenes in funny sound-bite-size songs. "What counts is not measured in
inches," the Cowboy croons. "What counts is the heart of the man." Yeah,
right. Ellen Carpenter
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The Hermitage of an Exiled Chain Smoker
Expanded by (and starring) Michael Cyril Creighton, The Hermitage
of an Exiled Chain Smoker grew out of a friend's monologue written
before the smoking ban took effect. But don't come in expecting a
hail of anti-Bloomberg jokes: This is intended more as a character
study, a humorous look at a bitter man who manages to blame all that
is wrong with life on everything but himself, from the new smoking
law to his absentee mother. Take, as an example, Caleb's behavior
when the smoking law takes effect: He barricades himself in his apartment.
The truth of the matter is that Caleb, a self-proclaimed "social retard,"
shut himself off from the world long before the ban hit. Still, there
are several very funny, if repetitive moments in the show (an asthmatic,
Caleb loses his breath whenever he lies). But truth-in-advertising
lawsnot to say a product warning labelmight have required
this to be called "The Hermitage of a Socially Inept Recluse Who Smokes
a Lot." E. J. Samson |
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How to Act Around Cops
Most of the usual cop-show suspects are involved here-drugs, guns, bodies in
car trunks, but How to Act Around Cops, with a witty script and as many
twists as can fit into 90 minutes, revamps a tired genre. Most of the
characters straddle the line between charmingly idiosyncratic and deranged,
providing some remarkably well-timed and compelling dialogue. A few scenes
are uncomfortable to watch, including a prolonged epileptic seizure
(complete with mouth foam) and the probing of a fresh bullet wound. But
there's plenty of comedic relief, especially when an unlikely love affair
develops between the kidnapper and his hostage ("You'd dissolve a body in
acid for me?" "For us!"). The performances are riveting, though regrettably
obscured by the dim lighting. While the ending is overly dramatic, How to
Act Around Cops is an intelligent play that questions the dichotomies of law
and transgression, cop and criminal, exposing the diabolical tendencies
lurking in every one of us. Elaine Stuart |
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Loud
The title says it all. Billed as "an electronic rock opera," Peter
Flint's musical about five interconnected individuals who want more
out of life also leaves the audience wanting more out of this low-budget
production (the set consisted of a few chairs and stools, and the
microphones worked only occasionally). One wonders what possessed
music director Jeffrey Forte to create an electronic-rock score for
a show about life in a Florida suburb. With characters like Linda,
an underappreciated wife; Payne, her closeted husband; and Parker,
their rebellious teen, you can't help feeling like you've seen this
before-and you probably have, except much better. Still, Loud
has some catchy tunes and noteworthy performances, especially from
its female cast. Look out for scene-stealer Clark Mims, whose big
voice and talent far surpass the material she has to work with. In
the end, Loud tries too hard at being a suburban Rent
and is nowhere near as poignant. E. J. Samson |
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Love: A Multiple-Choice Question
Love is a lot of things in this one-man musical by Australia's Jamie Jackson
(with live piano accompaniment by SoHee Youn). Among the adjectives
employed: "pitiless," "typical," "difficult," "big," and "rare." Upset with
his current girlfriend, Jackson takes a Back to the Future-style trip to the
outback, "where they know about love," and interviews his family on the
subject. Jackson, a deft impersonator, portrays each of his kooky relatives,
all of whom turn out to be far gloomier than he remembered. There are some
insights into the ways in which we glorify or vilify our families, but then
it's back to defining l'amour. And just when you think the show's going to
end without a Snoopy-style love-is-a-warm-puppy moment, here comes
crippled-pup Sam to offer some wise words like, "Love ain't science." Even
Jackson's childhood self weighs in. Ultimately, it turns out "Love is D: all
of the above." Full marks for staying on topic. Ada Calhoun
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Madonna in the Title
Two dumb, pretentious guys convince one's wife to commit suicide so they can
produce a play with Madonna in the lead role (or at least in the title, to
dupe audiences into coming). The two men are having an affair, although in
the process both wonder if they're really gay and one falls in love with a
drag queen. Drug use is rampant. Will & Grace-style bitchiness is the order
of the day, and mean jokes are delivered martini glass in hand. There are
some clever riffs about Ian Schrager hotels and TiVo, and some crass gags
involving anal sex and vomit, but the Madonna material is the most
substantial, particularly the "Like a Prayer" lip-synch number. The jokes
about her save this play. Ada
Calhoun |
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Meaningless Sex
Though this wannabe-provocative musical is clearly indebted to Sex and the
Cityand in fact recycles many of that series's well-worn tropes-it comes
across more like Beverly Hills 90210 in its youthful melodramatics. But
90210 was fun to watch, and for the most part, so is this playful show about
the romantic lives of four young New York actors. With songs like "Fuck
Friends" and "If Only I Were Gay" (wherein the straight male character sings
about the supposed benefits of switching teams), it certainly doesn't lack
for laughsand the music, composed by an avowed Sondheim aficionado, isn't
bad either. Yet as much as the four main characters want to be daring and
truly live out the title, the story ends conventionally enough-and
disappointingly-when love and fidelity triumph over base desire. Samantha
would never approve.
Sean Kennedy |
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Nharcolepsy
In the first few moments of this madcap interactive show, a hand emerges
creepily from a zipped duffel bag to set the scene by affixing two plastic
figurines (the main characters) onto the top of a blue ball (the earth) and
then spraying them with shaving cream (snow). If that doesn't sound like
your bag, you may want to call it quits-after, presumably, turning in the
wadded-up "snowballs" you were handed as you entered the theater. Comedians
Richard Harrington and Chris Kauffman star as a Belgian cabaret singer and
his bumbling, near-mute assistant, traveling together to the North Pole in
search of the infamous Yeti. Such high-concept stuff (two men performing one
final cabaret act before freezing to death) requires a deft comedic hand,
and Harrington and Kauffman's efforts sometimes call to mind a mediocre
middle-school talent show. Nevertheless, when Harrington plays the zither or
when Kauffman does one of his many masterful mimes, only the toughest
audience member could resist their charm. Sara Cardace
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One Shot
Robert De Niro fans will get a huge kick out of this one-man show, which
delivers a masterly look into the mind of a sociopath who's obsessed with
the actor and all of his films. Mark Kilmurry stars as Charlie, the fixated
fan for whom life is viewed through a pure-De Niro lens. Monologues from
Raging Bull take the place of regular conversation, a woman is loved (and
stalked) because of her similarity to Jodie Foster's Iris in Taxi Driver,
and the entire nerve-wracking tale is told in the form of a letter written
towho else?Bob himself. If Kilmurry's physical mimes aren't always up to
snuffit took us several minutes to realize he was mimicking scenes shot in
slow-motionhis channeling of characters like Jake La Motta and Travis
Bickle barely leaves room for improvement. And Kilmurry so convincingly
portrays a madman just keeping in his rage that attendees can't help but
shrink in their seats when he points his gun their way. You'll never hear
"You talkin' to me?" the same way againand you've got to wonder whether the
obsessive fan in the script is the man onstage himself. Sara Cardace
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Pale Idiot
Kirk Lynn’s Lipstick Traces went from the
Ice Factory Festival to a successful Off Broadway run
in spring 2001, and now expat Texan theater group
Frozen No Salt Productions is bringing to Lynn’s Pale
Idiot (cast pictured, left to right: Shawn Fagan,
Roxy Becker, and Lisa Louttit), a fast-paced 1996
farce about a health inspector who comes to town to
administer the zany “Idiot Test” to, among
others, the local politicians. Lynn,
playwright-in-residence for Austin’s Rude
Mechanicals, had all but forgotten the play: When
Frozen No Salt’s Roxy Becker, who was in
Idiot’s original cast, called to ask Lynn for
permission to do the show in New York, he went back
and read it for the first time in years. He found it
“desperately clever” and “kind of
silly”—in stark contrast to Lynn’s current
project, a contemporary retelling of the Book of Job.
Ada
Calhoun |
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Pinafore!
The good efforts of Gilbert and Sullivan societies worldwide notwithstanding,
it's hard to keep satirists' paws off their ultra-British operettas. One
particularly aggressive parodist is adaptor-director Mark Savage, who serves
up this 2 1/2-hour gay adaptation of H.M.S. Pinafore. The Pinafore is "a
floating circuit party" in the "separate-but-equal gay navy," and Captain
Corkinit never ("Hardly ever!") sleeps with his crew. The choreography is
delighfully dopey (including some very sprightly marching), and the costumes
darling (bandannas, short-shorts, and A-line crop-tops). But the new
characters and lyrics are far from revelatory, e.g., sweet little Buttercup
becomes fag-hag Bitter Butterball (though nicely played by Debra Lane). It's
all very Naked Boys SingingSavage co-authored that show, in factand
Pinafore! may well share its destiny: a cheerfully vulgar babefest with a
nice long run. But Sirs William and Arthur are spinning in their graves. Ada
Calhoun
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Poop: A True Story
Despite its early reliance on stereotypes for laughsflighty French women and
swishy art-world denizens are so funny!Poop: A True Story develops into a
smart meditation on art and its ability (or lack thereof) to draw people
together. Poop is about M., a struggling actress hired by a Japanese artist
to sit on a metal folding chair in a gallery next to what he calls her
"beautiful evacuation"the titular excrement. M. herself (Micheline Auger,
who wrote the play) narrates the story, interacting with the folks who
wander into the gallery and trying to come to terms with her ridiculous
situation, triggering a humorous twist when her poop takes on a life of its
own. A load of fun. Matt Gross |
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Poseidon! An Upside Down Musical
This may be the first time in Fringe history that an ocean liner has inverted
onstage. Yes, the effect is accomplished mostly through screams of terror,
25 actors "falling" stage right, a strobe light, and plastic champagne
glasses flying through the air, but it's a damn impressive homage to the
1972 disaster film The Poseidon Adventure. (Truth be told, the capsizing
scene in the original is almost as cheesy.) For fans of the film (judging by
the many Websites, a devoted bunch), the show is an opportunity to hear
favorite lines ("Air pockets?!") spoken and sung by a delightful cast,
including the suitably sexy Molly Faithe in the Stella Stevens role.
Non-cultists won't get all the jokes, of course, although, in a rather
heavy-handed conceit, monologues about the film's cultural and personal
import are peppered throughout. But everyone can appreciate songs like "(In
the Water) I'm a Very Skinny Lady" and the thrill of trying to guess, as the
ads urged, who will survive. Ada
Calhoun
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Rockshow
Writer/director Paul Stancato set out to "redefine the bounds of traditional
theatre" with his backstage musical Rockshow. Unfortunately,
he hits every cliché out there. Group Therapy's guitarist Adam must
choose between his friends and a big solo-act contract. Bass player
Mary finds herself increasingly attracted to Adam. Front man Bobby
is too in love with financial investor Christine to see that she's
trying to take over, but drummer Michael sees right through her. You
would hope that the music, at least, could save things, but for the
most part the songs have nothing to do with the plot, making them
unnecessary breaks in a production that's already overlong. Rockshow
may be something new, but we've seen all the component parts one too
many times already. E. J. Samson |
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Stars of Scalpel
Wings Theatre Company
154 Christopher St.
212-627-2961
For more information visit fringenyc.org.
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Scalpel
Surely in these days of Extreme Makeover, Nip/Tuck, and
all-botox-all-the-time, plastic surgery and cosmetic procedures should be a
rich enough subject to make compelling theater. But while the creators and
stars of Scalpel, a wildly campy romp of a "rock musical" about Upper East
Side socialites and their surgical vices, certainly try their hardest, they
don't quite get under its skin. All the promising satirical possibilities
are sacrificed to the tired conventions of a murder mystery. The cast
members seem to be enjoying themselves, though, and it helps that they're
constantly reeling off hysterical one-liners. And while the music may be
forgettable, drag queen Candis Cayne, who nearly steals the show as one
particularly, um, enhanced socialite, never is. Worth a visit just to catch
her star turn. Sean Kennedy
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The Semen Tree
In this "one-man musical tale about growing up Gaysian-American,"
the likeable Angel Abcede explores how childhood experiences can shape
the discovery of one's sexuality. Thrown in this autobiographical
mix are Abcede's self-admitted obsession with white America, his relationship
with his Filipino family (and his relations with some of his relatives),
and his life as a columnist for a Chicago gay magazine. He even puts
to rest some popular myths: Do Asian men really refuse to date other
Asian men? Do Asian men really have small penises? (By the end of
his performance Abcede supplies his answershows it, in fact.)
The musical numbers aren't the best out there, but his enthusiasm
is infectious. He may not be as funny as Margaret Cho, but at least
there's another Asian out there talking about gay cultureand
he has better jazz hands. E. J. Samson |
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Slut
A big hit of the current Fringe Festival is the musical Slut, by Stephen Sislen and Ben Winters, said by its spunky director, Sarah Gurfield, to explore that bit of slut in everyone, whether in the traditional or the self-promotional sense. Between them, the co-authors have a background in journalism, playwriting, filmmaking, playing in a punk-rock band, and running a transcription service, and so seem well qualified in at least the secondary type of sluttishness.
Their plot concerns the roommates Dan, a med-school grad eager to publish a scientific book, and Adam, a Lothario specializing in one-night stands who hopes to sail around the world in his boat, thus globalizing his sleeping-around. To discuss Dan’s joining in as first mate, the two adjourn to a bar, where Adam hits on Delia, a would-be rock star, but she chooses to move in with the shy and scholarly Dan. Other characters include two girlfriends of Delia’s, one a swinger, the other risking marriage to a rich Long Islander, as well as a generous assortment of downtown barflies and other purportedly colorful types. Also, amusingly, the ghost of Ferdinand Magellan, who cautions Adam about the sea. No one, however, cautioned the authors about a sporadically droll but basically creaky book full of all-too-predictable surprises.
The music, too, is predictable, with only one flavorous number. But at least, unlike that of Urinetown, whose success it hopes to emulate, it does not leech on Kurt Weill. It is enthusiastically played by the musical co-directors Amy and David Southerland, and three others. The songs are well rendered by a dedicated cast of nine playing 33 parts, in which Stephen Bienskie, as Adam—admittedly the meatiest role—is most impressive, although several others also show potential. Gurfield’s direction deals resourcefully with a limited budget and the cramped space of the un-air-conditioned Wings Theatre, which, on a hot night, doubles as a steam bath. Though much workshopped, the show is still in development, more slutlet than slut, and in need of added pizazz. I am especially amazed by its elevating one sexual infidelity into a turning point of the plot: Even Puccini’s bohemians could do better than that. Still, if the creepier Urinetown could make it thanks to anointment by the Times’ second-stringer, why not this? John
Simon |
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Strange News from Another Planet
In this apocalyptic rock-and-roll fairy tale, two outsiders in the form of a
time-traveling writer and a young man clad in a sparkly green jumpsuit fall
from the sky (literally) during World War Whatever, and discover "the nature
of mayhem." Each scene features a flashy rock ballad in which a cast member
completely interrupts the flow of the production, walks up to a mic at the
front of the stage and gives his or her best rock star impersonation. The
music is engagingthink David Bowie, Smashing Pumpkins, and Starship melded
togetherbut the performers simply don't have rock-star charisma or moves.
They're not comfortable with the mike, and their voices simply aren't
rockin' enough. The show itself is too disconnected and the acting is
inconsistent. At the end of the show, the green-jump-suited outsider sings,
"This is not my war. This isn't my land." Though his war is fictitious, his
statement is as real as it gets. Ellen
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Synesthesia
The title refers to a condition in which one's senses are interconnected:
Numbers have color, sounds have flavor, perfumes look pentagonal. But for
people watching Synesthesia, a two-acter about a Ukrainian murder probe,
disconnectedness is the rule. Why, for example, is Kiev inspector Louis
Yevchenko asking Lydia Perova, a conservatory professor, about the musical
significance of the numbers six and seven? Shouldn't he get on with his
investigation into the deaths of two of Perova's colleagues? (Apparently
notthat wouldn't let the writer-director Lance Tait show off his knowledge
of avant-garde composers and Wagnerian anti-symphonism.) As Yevchenko coaxes
musicological tidbits out of Perova, she just sits around plinking out
high-Cs on her Casio and looking bored. The actress, Stephanie Campion, can
handle that pretty well, but as the plot develops, she's called on for a bit
more, and the promised "shattering climax" provokes a torrent of giggles.
Matt Gross |
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A Taste of Heaven
Based on the journal of a Victorian poet, A Taste of Heaven
is a very touching tale of male intimacy and true love. Ryan Belmont
and Rob Luke are college friends in the late nineteenth century trying
to reconcile their growing feelings toward each other with the demands
of a traditional society. Michael D. Jackson's very simple writing
gets the audience to fall in love with the two characters during the
course of their romanceand leaves them just as heartbroken by
the end when the limitations on their love are driven home. As the
womanizing Belmont who can't seem to explain why he is so fond of
his friend, Richard Gallagher has great charisma (and a melting smile
to boot). Equally charming is Andy Phelan, whose Luke is played with
great innocence as he struggles to find a reason why the love he has
could possibly be so wrong. With their convincing performances and
great chemistry, you can't help asking the same question. E.
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Tower of Babble
Anyone who's done time in an office knows about the inanities of
corporatespeak, the subtleties of office politics, and the soul-crushing
sense of cog-in-the-machine insignificance. In her one-woman show, the
charming young actress-comedian Jennifer Ostrega portrays a variety of
office types, from the Lily Tomlinesque customer-support drone to the
hate-filled New Age counselor. Despite some sharp jokes-the human-resources
director, for example, confirms that "Dress-Down Friday" is, in fact, a
set-up-most of her material is pretty thin. So what's the point of this
show, given that the surrealities of the working world have already been
skewered everywhere from 9 to 5 to Dilbert to last season's Off Broadway
show Hold Please? Clearly Tower of Babble, which at under 50 minutes would
please any efficiency expert, is intended as a showcase for Ostrega's comic
flexibility, which is notable. Casting agents take note. Ada Cardace
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Tri-Sci-Fi: A Chillogy
Did aliens abduct Henry David Thoreau? Do space creatures play the baritone
sax? Tri-Sci-Fi: A Chillogy says yes. While these three bite-size musicals
have very different plots, they do have one thing in common: wonderful
music. Half of the cast members in Tri-Sci-Fi are in a professional a
cappella group, and their harmonies are tight and their voices blend
perfectly. The songs are funny and the melodies memorable. Some of the most
hilarious lines come from Thoreau's Walden: "I did not read books the first
summer," Monte Wheeler belts in a strong baritone, "I hoed beans." (Who knew
Walden was so amusing?) The musicals' stories aren't as impressive as the
songs, sadly. "Ed Wood, Jr.: The Sinister Urge" is downright confusing for
the non-cinéast. The acting, however, keeps up with the music, especially a
hilarious performance by Dennis Deal. "He's like Jerry Orbach on acid!" a
lady in the third row loudly noted. Indeed. Ellen Carpenter
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Tuesdays & Sundays
The two red-cheeked stars of this dreamy drama meet on New Years Eve in
1887, in a time when teenage boys are dubbed "gentleman callers" and young
couples fall sweetly in love at chaperoned church dances. Both Mary and Will
are prone to paralyzing shyness and use words like "Shucks" with abandonbut
don't head for the doors just yet! Actors Daniel Arnold and Medina Hahn, who
co-wrote the script as well, deliver refreshing, poignant performances that
transcend the hokey setting. When Arnold's Will, all Adam's apple, is struck
dumb at Mary's late-night invitation to come inside, his desperate inner
monologue ("Yes, I would! I very much would!") strikes crushingly home.
Likewise, Mary's bashful grimace throughout most of the play so transforms
her face that she is almost unrecognizable come curtain call. Anyone who
isn't moved by their awkward, wide-eyed interactionsas well as the tragic
final scene that ends their affairwas never a teenager. Sara Cardace
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The Writer's Mind
Not since Boogie Nights has an organ played such a prominent role. A slab of
fleshy, pink meat on a pristine white plate takes the title role in "Scenes
from the Life and Times of Little Billy Liver," the second of the three
one-acts that make up "The Writer's Mind." Born without a heart, a brain,
lungs, arms, legs or, well, anything other than a liver, Billy embraces the
fact that he is, as his mom says, "special." Billy does not talk or move,
but people love him. The gas-station attendant who hires Billy and thinks of
him as a son breaks down when he finally has to fire Billy: "God damn it! A
person needs arms and legs to pump gas!" An agent sees talent in Billy, a
photographer sees a desirable darkness, a straight man finds love and Billy,
in turn, finds the bottle. Quick, jump-cut-style direction and excellent
acting make this the best of the three playlets.The other two are "Harelip
and Sputnik," which is overacted and silly, and "The Writer's Mind," a
clever extended monologue that bashes actors and audiences. Ellen
Carpenter
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