Posts tagged with ‘2011 reviews’

Hamluke If you fucking LOVE “Star Wars” and are somewhat familiar with Hamlet I’ll bet one million Fringe Bucks that you will die from a geek-induced orgasm of nerdosity no later than halfway through this show. Its premise is to hang Hamlet’s skeleton on a tree branch and have the entire Ewok nation hurl “Star Wars” jokes on it until said branch bows under the immense weight of as much as fifty Geoge Lucases. It’s not intelligent. It’s not even terribly clever. But it is fun. Even for this reviewer who hasn’t seen either source material in a good five years. -Leigh-

Hamluke

If you fucking LOVE “Star Wars” and are somewhat familiar with Hamlet I’ll bet one million Fringe Bucks that you will die from a geek-induced orgasm of nerdosity no later than halfway through this show. Its premise is to hang Hamlet’s skeleton on a tree branch and have the entire Ewok nation hurl “Star Wars” jokes on it until said branch bows under the immense weight of as much as fifty Geoge Lucases. It’s not intelligent. It’s not even terribly clever. But it is fun. Even for this reviewer who hasn’t seen either source material in a good five years.

-Leigh-

Your Responsibility for Sex Failure Several people recommended this show to me and I was totally looking forward to seeing a fun play about the ridiculous clichés, stereotypes, and ideas about sex in the 1950’s. Unfortunately, the show’s tone and style left me confused and annoyed. What makes plays of this genre successful are their innocence, naïveté, and honesty. None of this works as humor when it’s played as a hard melodrama with a shit-ton of mugging. There were some moments when I smiled and yes, even laughed, but there were so many opportunities lost in the writing and playing of it that could have made this show a monster hit. Anyone remember Commedia Beauregard’s Five Fifths of Romeo and Juliet? Those kids knew what they were doing. -Leigh-

Your Responsibility for Sex Failure

Several people recommended this show to me and I was totally looking forward to seeing a fun play about the ridiculous clichés, stereotypes, and ideas about sex in the 1950’s. Unfortunately, the show’s tone and style left me confused and annoyed. What makes plays of this genre successful are their innocence, naïveté, and honesty. None of this works as humor when it’s played as a hard melodrama with a shit-ton of mugging. There were some moments when I smiled and yes, even laughed, but there were so many opportunities lost in the writing and playing of it that could have made this show a monster hit. Anyone remember Commedia Beauregard’s Five Fifths of Romeo and Juliet? Those kids knew what they were doing.

-Leigh-

Nineteen Cows Leaving Beirut I love theater. Really. But sometimes I see shows that make my soul cry. This one came awfully close. A parody? Commentary? Satire? On the No Child Left Behind Act this play follows a struggling teen and the girl that, for some reason, loves him. Something happens to them…they get captured by the government or something. I don’t really know. All I remember is a violent ending whose profundity was completely unearned by the grade-school antics that drove the show up to that point. -Leigh-

Nineteen Cows Leaving Beirut

I love theater. Really. But sometimes I see shows that make my soul cry. This one came awfully close. A parody? Commentary? Satire? On the No Child Left Behind Act this play follows a struggling teen and the girl that, for some reason, loves him. Something happens to them…they get captured by the government or something. I don’t really know. All I remember is a violent ending whose profundity was completely unearned by the grade-school antics that drove the show up to that point.

-Leigh-

Animal FarmVille: A Friend Me, Like Me, Poke Me Musical Disclaimer: I do not play Farmville, nor am I on Facebook or FourSquare or Twitter or Google+. I am probably the worst person to review this show. However, I believe that I can say with some authority that this was half-baked. The premise is fine; it’s a series of sketches that revolve around a war that breaks out between Mayors real and virtual over local turf. And while it’s certainly cute, I didn’t find it particularly clever. I mean, it’s sketch comedy, right? It’s not supposed to be well-written. But at the same time, it’s a real show with a great plot idea that simply comes up short. But, like so many other shows this year, I found that my fellow audience members enjoyed it much more than I. Even the senior citizens in the house were laughing at a few tech jokes which only made me feel even more like an uber-luddite that just crawled out from under my rock for my weekly dose of whatever. So they get an extra half-star for that. Also, you should know that while the cast can sing they are by no means singers. So just be prepared for that. -Leigh-

Animal FarmVille: A Friend Me, Like Me, Poke Me Musical

Disclaimer: I do not play Farmville, nor am I on Facebook or FourSquare or Twitter or Google+. I am probably the worst person to review this show. However, I believe that I can say with some authority that this was half-baked. The premise is fine; it’s a series of sketches that revolve around a war that breaks out between Mayors real and virtual over local turf. And while it’s certainly cute, I didn’t find it particularly clever. I mean, it’s sketch comedy, right? It’s not supposed to be well-written. But at the same time, it’s a real show with a great plot idea that simply comes up short. But, like so many other shows this year, I found that my fellow audience members enjoyed it much more than I. Even the senior citizens in the house were laughing at a few tech jokes which only made me feel even more like an uber-luddite that just crawled out from under my rock for my weekly dose of whatever. So they get an extra half-star for that. Also, you should know that while the cast can sing they are by no means singers. So just be prepared for that.

-Leigh-

The Great Midwestern Drug Circus I can’t really describe to you what this show is about other than it’s possibly the most unique fringe experience I’ve ever had. It’s honest and dark and wonderfully weird. While it’s not for everyone, it’s definately worth seeing and discussing post-show. Whatever your expectations are, forget about them and just come and see this show. There were only about 16 people in the audience the night I was there and 8 of them got in for free so please come support there guys. They deserve to make their money back. -Ryan-

The Great Midwestern Drug Circus

I can’t really describe to you what this show is about other than it’s possibly the most unique fringe experience I’ve ever had. It’s honest and dark and wonderfully weird. While it’s not for everyone, it’s definately worth seeing and discussing post-show. Whatever your expectations are, forget about them and just come and see this show. There were only about 16 people in the audience the night I was there and 8 of them got in for free so please come support there guys. They deserve to make their money back.

-Ryan-

Robot Lincoln: The Revengeance (The Musical) I was going back and forth over whether or not to post a review for this show. I mean, I sat there and watched it. There were clever costumes and they had more props than Carrot Top and The Amazing Johnathan combined. But I couldn’t really concentrate on the actual show due to the astonishing amount of heckling coming from the audience. It was almost an entire row of what looked like college-aged dudes, some of whom were wearing Red Hamlet tees. Now, look…I have no idea who these people were. They could’ve been anyone. Hell, at one point I thought they were plants being utilized by the producers (I did find out later that this was not the case). Regardless of who they were, they absolutely ruined this performance for any of the other audience members who were actually trying to pay attention to the show…and are probably a little responsible for this 1-star review. -Jay-

Robot Lincoln: The Revengeance (The Musical)

I was going back and forth over whether or not to post a review for this show. I mean, I sat there and watched it. There were clever costumes and they had more props than Carrot Top and The Amazing Johnathan combined. But I couldn’t really concentrate on the actual show due to the astonishing amount of heckling coming from the audience. It was almost an entire row of what looked like college-aged dudes, some of whom were wearing Red Hamlet tees. Now, look…I have no idea who these people were. They could’ve been anyone. Hell, at one point I thought they were plants being utilized by the producers (I did find out later that this was not the case). Regardless of who they were, they absolutely ruined this performance for any of the other audience members who were actually trying to pay attention to the show…and are probably a little responsible for this 1-star review.

-Jay-

FLESH Nic Lincoln might be this year’s Joel Smith. It’s been a while since a dude made my lady bits all warm and tingly, but seeing Mr. Lincoln’s near-perfect form in high heels and latex pants bent over on all fours and prancing around like a horse might have been the highlight of my day. Also, Ms. Ober is totally topless and moves around the stage like some sort of deer with a chromosomal abnormality. What were they doing? Oh, right. They were dancing. Yes…FLESH is a five-piece dance show curated(?) by Tamara Ober, the long-time Zenon member and PIPA creator (Fringe ‘09). It’s also a last-minute replacement show and though the pieces don’t really form a cohesive whole, it’s admirable that she’s able to pull this all together on a few weeks’ notice. The show is a veriety of modern dance and movement and while I didn’t love or even understand every piece there’s definitely something for everyone. Ms. Ober’s piece, as I mentioned before, is more abstract and unconventional, but it’s fascinating to watch a human being move in that way. But the most profound moments of the show belonged to Leslie O’Neil. Her bathtub transformation gave me chills and was one of the more raw and beautiful pieces I’ve seen in a while. -Leigh-

FLESH

Nic Lincoln might be this year’s Joel Smith. It’s been a while since a dude made my lady bits all warm and tingly, but seeing Mr. Lincoln’s near-perfect form in high heels and latex pants bent over on all fours and prancing around like a horse might have been the highlight of my day. Also, Ms. Ober is totally topless and moves around the stage like some sort of deer with a chromosomal abnormality. What were they doing? Oh, right. They were dancing. Yes…FLESH is a five-piece dance show curated(?) by Tamara Ober, the long-time Zenon member and PIPA creator (Fringe ‘09). It’s also a last-minute replacement show and though the pieces don’t really form a cohesive whole, it’s admirable that she’s able to pull this all together on a few weeks’ notice. The show is a veriety of modern dance and movement and while I didn’t love or even understand every piece there’s definitely something for everyone. Ms. Ober’s piece, as I mentioned before, is more abstract and unconventional, but it’s fascinating to watch a human being move in that way. But the most profound moments of the show belonged to Leslie O’Neil. Her bathtub transformation gave me chills and was one of the more raw and beautiful pieces I’ve seen in a while.

-Leigh-

Sousepaw: A Baseball Story You don’t need to like baseball to understand this play. It’s a well-crafted and ably-acted story about two desperate people who need each other to survive the night. If you arrive expecting to see a Traveling Treasure Trunk you’ll be disappointed. But what you will find is a good character-driven drama and a refreshing break from the clowns and innuendo. It’s a terrible fit for HUGE, which, I maintain is a terrible stage for the variety of shows that Fringe attracts, but nevertheless, they do the best they can and though it feels confined, the actors never feel trapped. Their characters on the other hand… -Leigh-

Sousepaw: A Baseball Story

You don’t need to like baseball to understand this play. It’s a well-crafted and ably-acted story about two desperate people who need each other to survive the night. If you arrive expecting to see a Traveling Treasure Trunk you’ll be disappointed. But what you will find is a good character-driven drama and a refreshing break from the clowns and innuendo. It’s a terrible fit for HUGE, which, I maintain is a terrible stage for the variety of shows that Fringe attracts, but nevertheless, they do the best they can and though it feels confined, the actors never feel trapped. Their characters on the other hand…

-Leigh-

Macbeth: The Video Game Remix If you play WOW or any sort of MMO, I’m willing to bet ten Fringe Bucks that you will love this show. If you haven’t played video games since your friends’ NES because your parents refused to buy you one for fear of your brain turning to mush like mine did, you’ll still appreciate the humor and plot. Its writing is better than I expected and while not perfectly acted, I got the feeling that these guys love gaming and love theater and what better way to combine the two but at Fringe. Also, Dawn Krosnowski can wear a costume. -Leigh-

Macbeth: The Video Game Remix

If you play WOW or any sort of MMO, I’m willing to bet ten Fringe Bucks that you will love this show. If you haven’t played video games since your friends’ NES because your parents refused to buy you one for fear of your brain turning to mush like mine did, you’ll still appreciate the humor and plot. Its writing is better than I expected and while not perfectly acted, I got the feeling that these guys love gaming and love theater and what better way to combine the two but at Fringe. Also, Dawn Krosnowski can wear a costume.

-Leigh-

The Day the Nineties Died I love the question “what is terrorism?” I love the debate between non-violent activism and militant activism, between the hippies and the Weather Underground, between Martin Luther King, Jr., and Malcolm X. I love that the theater is a place where we can explore these philosophical differences, and I am pro-Political Theater. But this was some bullshit. The script was fine. Not amazing, but not horrible. The acting was fine – the performers were solid, but not so strong that they could make an OK script compelling. But I was with them, I was following them on their journey as they executed some left-wing organization’s plan to plant bombs in the building where the IMF and WTO were meeting, and I was right there with them when they came back to their hotel room after planting the bombs, turned on the television, and watched the events of September 11th, 2001, unfold. (This, by the way, is where the play should have started. This is the crux of the question the play is asking, and we only spent seven minutes on it.) And then! We hear actual audio from a New York newscast on September 11, 2001. The newscaster’s shocked silence, the struggle to find words, the heartbreaking eyewitness interviews. And we watch our OK actors react to the news. Now, this should be an incredible moment, watching these people, who have just planted b0mbs under a building, react to what’s happening in Manhattan. But to play actual audio from that day is a cheap trick. Because we immediately stop caring about what you’re doing on stage. If you’re me, you’re smelling that burning smell that emanated from lower Manhattan for weeks after the attacks. If you’re me, you’re hearing sirens and fighter jets and helicopters and then a strange silence – New York is never silent. That is some PTSD-triggering shit, and it’s a fucking cop-out. It would have been way more interesting to have no audio, and to just watch the actors react to the news. To let them show us, instead of tell us. Better luck next time, guys. -SWF-

The Day the Nineties Died

I love the question “what is terrorism?” I love the debate between non-violent activism and militant activism, between the hippies and the Weather Underground, between Martin Luther King, Jr., and Malcolm X. I love that the theater is a place where we can explore these philosophical differences, and I am pro-Political Theater.

But this was some bullshit.

The script was fine. Not amazing, but not horrible. The acting was fine – the performers were solid, but not so strong that they could make an OK script compelling. But I was with them, I was following them on their journey as they executed some left-wing organization’s plan to plant bombs in the building where the IMF and WTO were meeting, and I was right there with them when they came back to their hotel room after planting the bombs, turned on the television, and watched the events of September 11th, 2001, unfold. (This, by the way, is where the play should have started. This is the crux of the question the play is asking, and we only spent seven minutes on it.)

And then! We hear actual audio from a New York newscast on September 11, 2001. The newscaster’s shocked silence, the struggle to find words, the heartbreaking eyewitness interviews. And we watch our OK actors react to the news. Now, this should be an incredible moment, watching these people, who have just planted b0mbs under a building, react to what’s happening in Manhattan. But to play actual audio from that day is a cheap trick. Because we immediately stop caring about what you’re doing on stage. If you’re me, you’re smelling that burning smell that emanated from lower Manhattan for weeks after the attacks. If you’re me, you’re hearing sirens and fighter jets and helicopters and then a strange silence – New York is never silent.

That is some PTSD-triggering shit, and it’s a fucking cop-out. It would have been way more interesting to have no audio, and to just watch the actors react to the news. To let them show us, instead of tell us.

Better luck next time, guys.

-SWF-