Fringe

Villainy is, in some sense, an educational theatre show for adults... and I mean that in the best possible way.

It's an argument for the continued relevance of Shakespeare in the culture and in the lives of 21st century Americans. When the show started, with video and a postmodern take on Shakespeare, I feared that we would overwhelmed with gimmickry. In one of the best surprises of the festival, though, the cast has the classical chops to do the Shakespeare lines.

I have a vote as one of the critics for Fringe Festival awards, so I am writing a longer piece to discuss how I'm going to be approaching my vote.

Then I see Cinema Fantastique.

It pretty much breaks all my aesthetic rules of Fringe. A loosely linked collection of spoken word, musical mashups, rap, and belly dancing (yes, belly dancing), Cinema Fantastique revolves around the pop culture sensibilities of the thirtysomething dude.

In other words, this show is about me.

Photo by Scott Beseler "Here we are now, entertain us..."

This line from the iconic Nirvana song leads into the overarching tone of "It Might Be OK" from Gobi Theatre. Generation Y has inherited the life set forth by 7 generations. They are carrying forward that which they were born into. They are now here and are trying to understand the conflicts built into life and the troubles and joys that come with it.

Julianna Bloodgood has done a magnificent job as facilitator/director leading a wonderful group of CCM students into a movement/dance centered production that digs into the depths of humanity from the perspective of 20-somethings. The tone of the piece is not one of anger, more of acceptance. They seek to understand what has come before. The seek to feel what it must have felt like "the day the music died." They also are setting down their own markers. They are no longer children, they are adults and seek to take up the mantle of adulthood. They are filled with positive energy, but at the same time humility.

Another production out of CCM (don't these kids study, or anything?), Guns and Chickens stands out from the rest of Fringe in it innocence. I knjow that sounds odd to say, particularly in a Fringe where we got a musical lecture in sexual technique from Ed Hammell, but Guns and Chickens is exactly what it seems to be: an intricately executed, movement-oriented children's fable.

Another Fringe veteran, the True Body Project returns with a sequel to last years fringe hit. Body Language II: Phys. Ed. js a surreal lark through a nightmarish hybrid Physical Education/Drama class. Last year's show focused on young women--this year takes the men along for the same trip.

The show is staged in a gym at the YWCA, and the location is used to great advantage. Just when you think that show is going to veer toward over-seriousness with a litany of statistics, it rights itself with a high-energy ending that delighted the crowd.

One of the most unique concepts of Fringe so far is the use of paint in "Painted." Paint is used as the literal illustration of both emotion and the physical. Green on the forehead is the green hat worn by a child. Red is violence.

"Painted" uses personal experiences and historical references as the means to express the content of the show. Every actor begins as a blank canvass and then is painted with life experiences.

Well, here's a show that doesn't need any marketing help. The Gayer Show sold out its first performance... on a Saturday afternoon... on the second floor of a gay club. So, yes, this is probably going to sell out. Get your tickets now, if you want to see it.

You know, these guys deserve their success. They've been at Fringe repeatedly over the years, and the show is funny and closely observed. Even though it's highly personal, you'll probably find something to relate to. I certainly did (and, yes, I'm straight).

Seeing It Might Be OK immediately after Painted drew my attention to some obvious similarities between the shows:

• Personal stories that are positioned as being from the actors, focusing on moments of personal challenge and/or pain.
• Collegiate age performers, many of whom I have seen onstage at CCM.
• Visually arresting images throughout.

While Painted definitely had elements to recommend it, It Might Be OK is one of the shows of the festival for me. Why?

Painted is one of the most visually arresting shows that you'll see this festival, as it revolves around several performers dressed in all white as they mark themselves and each other with finger paint. The point is the pain that we inflict and that is inflicted upon each other.

I've been using the phrase "review-proof" a bit throughout this festival, and No Strange than Home definitely fits that bill.

Are we all tourists? Katherine Glover's "No Stranger Than Home" has a travelogue vibe, but is really asking what cultural identity means. Where are you from?

Am I from from Cincinnati? Am I from New York State? Am I from England/Ireland/Panama as my ethnicity would suggest?

It's kind of nice to know that you have no influence over the attendance of a show. Ed Hammell (AKA Hammell on Trial) has his own following, has a show that generates its own word of mouth, and pretty much has it going on.

This is a brassy, loud, in-your-face show, an anarchist tour de force, balanced on perfectly between the glee in the simple pleasures (sex, drugs, and rock and roll) and the sadness and anger that everyday life brings.

If you're not easily offended, find a way to scam a ticket and go.

Incredulity is an improv show, which means prospective audience members fall into one of three categories:

 

• People who hate improv. These people should stay away.
• People who love improv. These people should see it--may be more than once.
• Everyone else. These people should take note that the show is only 40 minutes and give it a shot if it fits into their Fringe schedules.

 

I started Thursday at Cemetery Golf, the first of the solo shows that I've seen.

If Fringe shows in general are difficult to review, solo shows are even harder since they tend to focus very tightly on one person's experience. I really liked Cemetary Golf--but then my experience is close to the writer/performer, in that we both grew up evangelical in small towns. So, it likely shouldn't be a surprise that I liked the production more than most of my group.

In case you missed it, on the opening night of shows WLWT was at the Fringe Bar Series to cover the Festival. Check out their online story.

CinWeekly and Metromix Cincinnati had some Fringe coverage this week, including a cover stoy.  Have a looksee and get to some shows.

I am a terrorist. I got that impression from “Terrorism of Everyday Life” by Ed Hammell. If you think like Ed, you must be a terrorist. Rock infused humor drills from the 70 year old guitar with the massive hole in it. I here the Clash pre-show and I am hooked. I was floored by the slide acoustic ripping at the end. I was laughing at the “Pussy” song.

The politics do more than lean left, they fall of the left cliff. If you are an easily offended Republican, please go. There is nothing here that will offend you. Trust me.

Talking Rabbits

William Shatner still getting women

Octomom

Texting while driving with your knees

Exposing yourself

Dick Cheney is not dead

Those were the topics provided by the audience at “Incredulity”. In the spirit of the improv show, I am going do an improv review.

So, these two talking rabbits walk into a bar. One says to the other…

After reading the premise of this production I had something in mind. I expected to see a show that hit hard on the writer's fundamentalist Christian upbringing. It would illustrate how he lost he faith. The show would inevitably how all of the Fundamentalists were insane nut cases.

Much to my pleasure and surprise, Jim Loucks gives a character driven examination of his childhood. His preacher father and church family are not caricatures, they are human beings filled with flaws.