The Happiest Medium

Smoke The New Cigarette (Fringe Festival 2011)

by Geoffrey Paddy Johnson on August 20, 2011

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It’s pretty clever when a theatrical production adopts the stance that what it is about to present you with is nothing more than offensive, odious rubbish. And when it does so persistently, warning you at each interval that things are only going to get worse, more unbearable, it seems cleverer, because you have no one to blame but yourself for hanging around. And when each performance or act hones so close to the edge of becoming merely cacophonous insult, while convincing you that the method in this apparent chaos is quite sound, well, that makes it even more clever. In fact, everything about Inverse Theater‘s Smoke the New Cigarette by Kirk Wood Bromley at the Bowery Poetry Club is exceptionally clever; so clever it hurts.

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MOTHER she’s with you wherever you go (Fringe Festival 2011)

by Karen Tortora-Lee on August 19, 2011

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The mother/daughter dynamic is a convoluted one – speaking myself as a daughter who has both benefited from the advice of a strong willed woman while at the same time fought to get out from under the weight of Mother’s somewhat (shall we say) “insistent” personality.  So, for me, Mary-Beth Manning’s Mother she’s with you wherever you go was a show that I knew was going to bring up a lot of issues before it even started.   The wonderful thing about this solo-show, however, is that while Mary-Beth’s mother Joanie is one hundred percent a unique character unto herself, Manning manages to hit upon the universal themes we all struggle with when dealing with a person who is both our constant source of inspiration and comfort as well as our constant source of agitation, depending on the day.

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The Bardy Bunch: The War Of The Families Partridge And Brady (Fringe Festival 2011)

by Karen Tortora-Lee on August 18, 2011

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Here’s the story … of The Bardy Bunch: The War Of The Families Partridge And Brady.

It’s 1974 and two families, one Brady, one Partridge are at war.  Their battlefield exists in cancelled sit-com land and their weapons consist of killer dance moves, cut throat ballads and production numbers meant to slay you in the aisles.  Their story is a mash up of well-known Partridge and Brady references retrofitted into such Shakespearean plays as Hamlet, MacBeth, Romeo and Juliet, among others.

The result is everything Fringe has come to be celebrated for: an innovative, enjoyable, hilarious night of theatre written by Stephen Garvey and directed by Jay Stern that isn’t afraid to push the envelope.

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A Way Of Man (Fringe Festival 2011)

by Stephen Tortora-Lee on August 18, 2011

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Once upon a time...  How that can roll off one’s tongue with a savor that is like the sun kissing your forehead on a sweet summer’s night, as the glowing orb burrows into its deep red cave in the sky.  This is truly storytelling (with properly credentialed and sincere storytellers from the world famous International School of Storytelling).  Michael & Caja based in The Hague make a great team telling this story.

Michael Driebeek van der Ven begins A way of Man by giving a brief introduction about the story and the nature of storytelling, including a note that – since the point of storytelling is to help us envision things in one’s mind’s eye  – if the audience wants, we are welcomed to close our eyes and no judgements would be made. Van der Ven is also is responsible for the very subtle yet dramatic dimming and brightening of the lights which help us move through the transitions of seasons and scenes and senses.

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You’ve Ruined A Perfectly Good Mystery! (Fringe Festival 2011)

by Stephen Tortora-Lee on August 18, 2011

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One thing about Fringe Festival is that it encourages experimentation among the already experimental crowd of off-off-Broadway and regional theatre troops from around the country.  You can read more about their developmental process here, really quite fascinating actually. This piece is interesting in part because of the comedy interwoven into the structure (a fun mix of parody and literary criticism), but more importantly the methodologies of how the story is told (using audience participation) are worth going to the play by themselves. Mercury Rep, a Madison, Wisconsin based company, has been a past fringe favorite, and  they get a chance to make their mark this year again.  You’ve Ruined A Perfectly Good Mystery! is truly is a good example of the type of theatre that the New York International Fringe Festival exposes to a larger audience.

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The Custodian (Fringe Festival 2011)

by Stephen Tortora-Lee on August 17, 2011

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What’s the difference between a janitor and a custodian? It’s all about a sense of responsibility for what you care for.  The Custodian is a story about trying to find one’s way in the world, the complexities of love, and one normal man’s struggle to learn how to fight back against the messy carelessness of superheroes creating a codependent relationship with the regular citizens of New York by saying they need to save the world from disaster and then making the people trapped under the rubble of their battles beg to be rescued.

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BETTE DAVIS AIN’T FOR SISSIES (Fringe Festival 2011)

by Karen Tortora-Lee on August 17, 2011

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Sure, I knew that the star of Bette Davis Ain’t For Sissies was going to be a woman.  But there was still a part of me that gave a little stutter when I saw Jessica Sherr walk onto the stage, about to embark on her journey to embody this legendary actress.  There’s a reason why Bette Davis is a favorite of drag performers, a la Cher, Judy and Liza.  Because  legends like these have enormous shoes to fill and sometimes the dainty feet of a woman just slosh around in those heels.  However, I wasn’t here to see a drag show.  I was here to see why Bette Davis Ain’t For Sissies.  Unfortunately this “comedy solo show” (which had very little comedy) never really clarified that for me.

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2 Burn (Fringe Festival 2011)

by Geoffrey Paddy Johnson on August 17, 2011

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There’s an undeniable darkness at the heart of Alex DeFazio’s new play, 2 Burn, produced by Elixir Productions Theatre Company for this year’s NY Fringe Festival at The Living Theatre. And the darkness in a large measure resides in the character of Paul, an earnest college educator, as played by Jody P. Person, one of the show’s co-directors along with Jennifer Joyce. The darkness is all the more remarkable for being manifest in a character who seems pointedly to reject such categorization, as he subjects all experiences to the un-nuanced spotlight of his intellect, opining ultimately that there is no such thing as Love. Love is merely a social construct deployed by people for their own ends, Paul declares, and not in a tone that is hard-bitten or love-weary. Rather in an earnest and instructive manner, careful that his listeners do not fall into the folly of believing in such an illusion. Person’s Paul exudes an openness, an unblinking wholesomeness, apparently devoid of shadow. He’s kind of like a nihilistic Julie Andrews. Which is why we settle back and read him as a sort of chump, heading for a classic theatrical pratfall. Of course he’s going to fall in love. And love is going to rip him a new one.

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PigPen Presents: The Mountain Song (Fringe Festival 2011)

by Karen Tortora-Lee on August 17, 2011

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When I was scanning the list of Fringe shows that I intended to review this year my heart gave a little leap when I saw that PigPen would be returning again this year with The Mountain Song.  True, I’m probably not supposed to have a favorite before I even see the show, but after being completely and utterly entranced by last year’s Fringe offering The Nightmare Story I eagerly awaited their next play the way a doting mom awaits a favorite son’s visit home from college.

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The Unhappiness Plays (Fringe Festival 2011)

by Stephen Tortora-Lee on August 16, 2011

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Negative Space Sometimes Shows Us The Way Out

Sadness is a universal and necessary part of the human condition, whether you experience it from losing a job, a loved one or just find yourself at end of your rope.  But is “unhappiness” different than “sadness”?   Can lives be ruined when they are unhappy much more than when they simply have a neutral lack of happiness? Playwright Greg Kotis (who wrote the book for Urinetown as well this year’s Fringe runaway hit, the already sold-out Yeast Nation) examines these themes in 9 short dark comedies called  The Unhappiness Plays.

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