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Review: Body Language II: Phys. Ed.

0 Comments · Friday, May 29, 2009
The Body Language concept is to interview people about how they view their bodies, then turn their insights into a telling pastiche that amuses and informs and hits us where we might not know we hurt. In the current show, they've gone back to high school, when bodies are presumably about at peak, and found a mass of conflicting responses.  

Review: Where Drunk Men Go: A Poem With Music

0 Comments · Friday, May 29, 2009
This performance poem, written and delivered by regional bard Richard Hague and supported solidly by Michael Henson on guitar is, even by Fringe standards, a bare-bones affair. And that is as it should be. The two men take the small stage at the Coffee Emporium and, for 75 minutes, trade off in verse and song, evoking what it means to be a man devoted deeply to drink.  

Review: Jacques Brel's Lonsesome Losers of the Night

0 Comments · Friday, May 29, 2009
This show was originally mounted in Chicago a year ago by a company called Theo Ubique; it was well received by audiences there. The Cincinnati production is staged by director Lyle Benjamin, under the auspices of his Queen City Off-Broadway company.  

Review: Cemetery Golf

0 Comments · Friday, May 29, 2009
All you worshipers in the temple of the theater, shout "Hallelujah!" After engagements in New York and Chicago, storyteller-actor-writer Jim Loucks is lighting up one corner of the Fringe Festival with his solo show, 'Cemetery Golf': 75 minutes of fresh, amusing, often moving recollections of a North Georgia childhood.  

Review: Villainy

0 Comments · Friday, May 29, 2009
Whatever flaws 'Villainy' has as a work of theater, let's be clear: Lack of energy isn't one of them. The play is set up in five acts, with a prologue and epilogue attached. There are also intermittent video scenes involving a vengeful teen and the 'World of Warcraft' game, which admittedly could have been either funnier or more poignant.  

Review: Four Wishes

0 Comments · Friday, May 29, 2009
Of all the virtues taught by this classic Native American tale (bravery, humility, cooperation, respect for nature) the greatest might be patience. Three of the story's four Abenaki adventurers learn that lesson the hard way: bound for home, carrying blessings from the great Gluskabe, they open their pouches too soon, with disastrous results. We get the message.  

Review: Brother Bailey's Pageant of Moral Superiority and Creation Science Island Jamboree

0 Comments · Friday, May 29, 2009
In a pre-Fringe interview writer-producer-director Brad Cupples said his show "embraces blasphemy" and lambastes creationism (aka "intelligent design") as non-science and "an abomination to common sense." Well, that might have been his intent, but intentions aren't performance — in the theater or anywhere else, but especially not in the theater.  

Review: Guns and Chickens

0 Comments · Thursday, May 28, 2009
CCM professor of drama k. Jenny Jones and a group of students have created their own modern-day Aesop's fable as a Fringe entertainment and an amusing morality lesson. Much of their production at Know Theatre is exercises in actorly invention, and most of the 45 minutes are very entertaining.  

Review: Free at Last and Confused in the Land of Good & Evil

4 Comments · Thursday, May 28, 2009
At 100 minutes, 'Free at Last/Land of Confusion/The Good, The Bad and The Evil: Angels vs. Demons' is at least 60 repetitive, mind-numbing, ear-assaulting minutes too long. It seeks to weld dance, poetry, music, sound and images together into salient social commentary.  

Review: Assholes and Aureoles

0 Comments · Thursday, May 28, 2009
I expected this show to be laugh-out-loud funny, and it was funny. But, more than that, it was smart. Like really smart. The company and Cincy Fringe organizers didn't play up that aspect of the show. Might it scare off the masses?  

Review: A Perfectly Wonderful Evening

0 Comments · Thursday, May 28, 2009
This 80-minute riff on an actual dinner engagement between the cigar-wielding Groucho Marx and the modernist poet T.S. Eliot deserves credit for its promising concept and daunting display of cultural erudition. But it falls short of its intriguing premise.  

Review: It Might Be Okay

4 Comments · Thursday, May 28, 2009
The program establishes that the cast has developed a series of segments exploring the myth of being a young American in the present century. What's offered are stories you would expect from a collective of attractive college-age performers: the deaths of grandparents, the breakup of young-love relationships, acknowledgment of a parent’s wisdom, being made to look foolish in middle school.  

Review: Empire of Feathers

0 Comments · Thursday, May 28, 2009
How many birds come out the egg ready to fly? This gleefully low-budget epic adventure by a London-based stage trio called Giant Bird looks like something newly hatched: even by Fringe standards, the show is cute in a scraggly, spindly way, the performers appealingly hungry and eager to test their wings.  

Review: The Terrorism of Everyday Life

0 Comments · Thursday, May 28, 2009
If you could play a guitar with a jackhammer, Ed Hamell would do it. As it is, he comes so close to "Abuse of an Instrument" that the music police would get him if he weren't searingly funny and, treating the language with no more respect than his guitar, profanely eloquent.  

Review: KAZ/m

0 Comments · Thursday, May 28, 2009
Performance Gallery has contributed a show to every Cincinnati Fringe Festival; they're the only company that's been back six years in a row. But if you've seen one of their pieces, don't think you can bypass KAZ/m.