#1: So, there’s this thing I want to do.
#2: Yes, I know.
#1: Do you?
#2: Yes, I’ve known what you want to do for years now.
#1: How could you have known? I didn’t tell anyone.
#2: There are some things you don’t have to say out loud.
#1: I’m not that transparent.
#2: Yes you are and it is both cute and ugly. All the blood and guts showing, nothing you want to see while eating breakfast.
#1: So you do indeed know what I want to do.
#2: I wasn’t lying.
#1: Which is a first.
#2: Careful, if you want to have breakfast with me, you better be nice.
#1: I’ll worry about breakfast later..you know…in the morning.
If you've seen the movie True Lies, Bill Paxton plays a used car salesman who pretends to be a spy. Now, this has absolutely nothing to do with the Four Humor's newest show, You Only Live Forever Once, but if you imagine the pretend spy world that Bill Paxton's character would be living in, it might be something like this show, including the puppets.
Secret Agent Dave Johnson, played by Ryan Lear, is a James Bond-esque (as might be imagined by Jim Carey) spy in a battle of wits and puns with Wealthy Industrialist Kitty Cougarton, played by Matt Spring. Sock puppet henchmen and stick figure puppets interchange with their live action counter parts in a non-stop 50 minutes of laughs.
The acting is wonderful, the opening/closing sequences were brilliant touches, and the script was crisp and focused. The dangers of puns can, for obvious reasons, be extensive, but the writers (which include: Jason Ballweber, Ryan Lear, Dan Peltzman, Rachel Petrie, Mark Rehani and Matt Spring) never strayed from comic gold. This is the fourth production from the Four Humors to venture down from Minnesota to the Cincinnati Fringe Festival and the first to include the team from last year's Fringe hit, The Finkles' Theater Show (by Ryan Lear and Rachel Petrie). The influences of their brand of comedy add much of the energy to the production and blend well with the tone of the Four Humor style show that Cincinnati audiences know and love. In other words the combination of talent works to purrrrfection….Yes, puns only work with the right set-up, and mine crashed and burned like a paper jet puppet. If you see the show, that last bit might be slightly funny.
If you are at Fringe this is one of the don't miss productions. Get a ticket to their Friday or Saturday show now before they sell out!
When you are looking for help on how to avoid making mistakes on a topic, say dating, who else is better to turn to than someone you trust and someone who has made far more dating mistakes than you will ever make in a single lifetime? The Venzin-Althaus EXPLOSION's newest production of 101 Rules for Dating (of which you will hear 20 or so…) gives not only one lifetime of bad dating experience, but two: Megan Venzin and Emily Althaus. The comic duo is back from last year's CincyFringe hit, A Night Of Well Adjusted Ladies, with a high energy self-help seminar spoof that offers up a hilarious romp through the dos and don'ts of dating.
Mixing up multiple elements, including karaoke-like musical interludes a really well done video, and some hands on improv, the duo delivers a very funny send-up that will hit close to home unless you have been happily married for the last 50 years. Staying close to home for a topic in this year's show pays off with added authenticity in delivery. The stand-out element is the video portion of the show that shows the duo out in a New York City park talking to random people about relationships and getting funny results, especially from the Easter Bunny.
The improv elements were very well executed and shows their experience and comfort performing together.
One area of improvement would be to focus the number of varied elements. I wanted maybe more improv and fewer musical interludes. That may be me just me not relating to the music. The best suggestion I can make to all of the men out there, sit in the front and you might get a little extra attention.
Expectations have been a recurring theme for me in my reviews this year. When I read that Matt Johnson was doing a show this year, I had a set of expectations. I've seen his work before. In Tooth and 'Nuckle I got the Matt Johnson I was expecting. He is on the edge at all times, pushing you, sometimes with a very pointy stick.
If you go to Fringe festivals and expect that everything is going to make sense, then I think you are missing out. We need bizarre shows, with vagina puppets made from grocery bags. We need raunchy sex crazed stuffed animals manipulated by Johnson as a puppet that then mock audience members for not wearing the right color clothing (pink for girls, blue for boys).
Grocery bags crudely spray painted white to look like teeth contain the props for each vignette. Some of the vignettes are long and some are way too long. None of them paint a coherent portrait of a focused idea, but are none-the-less interesting.
Matt Johnson is not one to shy away from controversy and this production is filled with it, including the belief that it is nearly all improvisational. I would encourage people to go to this show, but don't expect to understand it or even like it. In this case the experience I had met my expectations and I found it really funny. You may hate it more than any show you have seen in your life. Either way, go and experience it. That is why we Fringe
I am thrilled when my expectations are exceeded. The running time of Left Out Productions NYC's Miss Magnolia Beaumont Goes to Provincetown was leaving me a little bit disconcerting for a solo Fringe show, but this is more than a solo show. This is a multiple character one person play that is a crafted work with two distinct and seamlessly woven roles played by Joe Hutcheson.
Using mostly voice and demeanor, Hutcheson dresses for a vacation to Provincetown, Mass and has a guest living inside him, that of Miss Magnolia Beaumont, an antebellum southern belle from Georgia who died in 1863 and ending up living inside Master Joseph, as she calls him. She can't commmunicate with him, but hears and sees as he hears and sees. He's a gay man. Yes, there's a bit of a culture clash, but as she's a genteel lady and more modernly inclined, the conflict is muted and more real. If you took a person from the 1860's and placed them in today's society, many of the social differences we focus on in the present would be more alien, than controversial to the person of the past. That type of authenticity was a refreshing take on the underlying conflict between these characters.
As time progresses, Magnolia is able to communicate with Joseph and the growth begins. Both have secrets and finding how to trust someone else enough to share those secrets is the focus of the story. Humor is a great way to deal with the emotional struggle with trust and Miss Magnolia and Joseph bring laughter and touching revelations together in such a way that I didn't even notice that 90 minutes had passed.
When the end comes it is said that the light fades from your eyes and everything goes dark. That image is the visual put forth from New Edgecliff's Darker written by Catie O'Keefe. Light and Dark run heavily through this production. Keeping the characters and the audience 'in the dark' takes on an additional importance. Love, death, the power of the impending darkness puts a sensual story on stage with a hazy situation where the past is seeping into the present.
The cast of Michael Carr, Mindy Heithaus, and Jeffery Miller are all excellent. They know their characters and show no fear in playing off each other. The set and costumes, designed by Jim Stump, were the best I have seen in Fringe this year. It is risky to have a set and lighting design as elaborate as Darker used, but Stump made it work really well with the limits placed on Fringe productions.
The story was a good concept. It was thought provoking and had strong dialog, but it needs something more. There wasn't too much to the story as often happens in theatre. This production fits well with being about an hour long. The backstory needs more context. The ending would be more dramatic if the build-up had more basis. As a writer, I love the concept it explores, but the power struggle that goes on between the characters takes more of the focus than the mind blowing resolution of the story.
Overall, the show is a very enjoyable piece, that gives the audience much to see and hear as the light fade.
I don't how anyone could imagine finding a way to 'break the 4th wall' better and with a sense of joy within the improvisation no less. Jimmy Hogg's Curriculum Vitae will have you laughing at each lightning speed phrase that no American as easily phrase. Originally from Britain, Hogg has the verbal ability to talk fast common to many of his home county. He uses that speaking tone to catapult you through his resume, literally his resume or "cv" and takes you through his work history and the life around it. The is both a story and a chronology of his life at work and the people and employment pitfalls that most have experienced.
Hogg appeared in last year's CincyFringe and told of his youthful petty crime. This show is more theatrical, with bits of mime added for affect and a costume progression that followed will with the structure of the "cv." If you are lucking to see the one more performance on Monday night, but see it, then you get to experience him 'breaking the 4th wall.' It has a comedy club feel to it, but when you add it to theatre, it is so unexpected it is so much more fun. It is naughty and when a British person says it, it just sounds more interesting.
Kevin Thornton's I Love You (We're Fucked) filled the sweaty Artworks space with both eager audience members and wonderfully funny stories and songs. Thornton is an extremely talented performer who has improved on his 2009 CincyFringe show Sex, Dreams & Self-Control with a crisp comedy that was more fast past and improvisational. Kevin knows how to put on a show and knows how to push the crowd over they edge with him.
The tone of the show takes many more detours. You don't know what he is going to say, but that will not scare the audience if they aren't prudish. The prudes might want to skip this one. Beware of the "Blood stories" as they mix emotional elements that snap back to humor very quickly.
I sat in the back, which is slightly elevated, giving a better sightline. The sound was fine for me in the back, but had room to be louder. The heat was intense, literally. Kevin was nearly topless by end after removing his shirt and tie. I don't think this was part of the show, more of a reality to a hot fringe night for a sell out crowd.
Continue reading “CincyFringe Review: I Love You (We’re Fucked)”
Free Bread sticks, special tea, a lizard, Adam Smith, and big dose of introspection make total sense after you see Artemis Exchange's new production Peyote Business Lunch. The show goes deep inside the mind, and I do mean deep, to pull out that wave-particle choking your soul, causing you to wake up screaming in the middle of the night, but then makes you laugh when you think about it years later. It takes you on a journey to experience everything that ever was and will ever be, all in about 60 minutes.
This show is a wonderful blend of tongue twisted mental exercises of dialog, rich characters, and brilliant acting. The cast of George Alexander, Randy Lee Bailey, Chris Dooley and Kate Kersaw are all veterans of Fringe and add hilarious layers to the script. Speaking of the script, another top notch effort from Christopher Karr and Chris Wesselman along with Paul Lieber.
Jon Frankie (Bailey) really needs a job and 'hopes' to find it at an Olive Garden in a Casino, on a Yacqui Reservation. He is seated by the disgruntled Waitress (Kershaw) and then meets with Marvin Jones (Dooley) assistant to Chief Leon Proudfeather (Alexander), who interviews him for a job. That's the simple part. The rest of the story goes places you can't imagine. Well, you can imagine it, but you have to open a few doors of perception or you may be lost. This show bring out the brains and feasts on them like zombies. It makes you laugh, ponder, laugh, laugh, and ponder more while laughing again. This is one you don't want to miss.
What makes you human? How do you know? Could you be a zombie pretending to be human? In Karim Muasher and Carrie Brown's production of The Vindlevoss Family Circus Spectacular there is no question who the zombie is, but does that mean a zombie can't be human? Weren't all zombies former humans? Are zombies and humans just part of the same circle of life?
Using props and light, the two characters, Professor Vindlevoss and her adopted son Edvar the zombie, put themselves to the test to determine if they are human. The Professor is putting Edvar to the test, but in turn she is testing herself relating to her own father and keeping her humanity by not giving up her zombie son.
If you want to know what the soul of a Fringe Festival is like when it is on stage, then see The Vindlevoss Family Circus Spectacular. This is why I love the Fringe Festival. This show is a charming, funny, and inventive production that puts the physical elements of theatre around a focused theme and succeeds. The style feels like what I would imagine you would have seen in European theatres 100+ years ago, and therefore makes it unique for Cincinnati audiences of today. I wonder if audiences of Over-the-Rhine of the 19th century would have felt right at home watching these actors? I'm no historian, but I think they would. The show has a few sound issues, and would fit better in a more intimate space, but that doesn't hold it back.