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White Girl (Review)

1 Comment · Friday, June 3, 2011
Issues of race and gender aren’t unfamiliar themes, but finding new ways to address these subjects isn’t always easy. Solo performer Maythinee Washington from Las Vegas brings forth a curious and rather introverted movement and pantomime-based performance piece with White Girl (presented at ArtWorks, 20 E. Central Parkway).  

Music for Newspapers and Radios

1 Comment · Friday, June 3, 2011
Paul Schuette, a grad student in composition at UC’s College-Conservatory of Music, assembled a cast of almost two dozen fellow music students to perform Music for Newspapers and Radios (Media Bridges, 100 Race St.), his nonlinear, multimedia program of performance, video, projection, spoken word and broadcast sounds.  

Missing (Review)

1 Comment · Friday, June 3, 2011
The title of Jessica Ferris’ one woman show, Missing: The Fantastical and True Story of My Father’s Disappearance and What I Found When I Looked for Him (at Know Theatre), would pretty much seem to say it all. And yet, there would be so much, well — missing.  

Peyote Business Lunch (Review)

1 Comment · Friday, June 3, 2011
Unlike the characters in Peyote Business Lunch, Artemis Exchange’s high-octane entry in the 2011 Cincy Fringe, you don’t have to ingest anything to have your head turned around several times. The cast of four (performing at the gallery space at ArtWorks, 20 E. Central Parkway, enter from Jackson St.) will keep you laughing, furrowing your brow and being amazed for the entire 65 minutes you’re there.  

Tooth and 'Nuckle

1 Comment · Friday, June 3, 2011
Matt Johnson’s solo improvisational piece, Tooth and ’Nuckle, at the very-out-of-the-way and very cool Hanke 2 space (1128 Main St.), might not be for the faint of heart, even by Fringe standards. The setup is pretty straightforward. A bare stage sports a phalanx of masks and puppets fashioned out of grocery bags, and audience members are invited make a selection for Johnson to use as starting points for off-the-cuff scenes and soliloquies.  

FringeNext: The Color of Harmony (Review)

0 Comments · Friday, June 3, 2011
The Color of Harmony kicked off the first-ever FringeNext series of shows. FringeNext is a new Fringe category that invites performances produced, created, and performed by high school students. It was presented in the black box theatre of the new School for Creative and Performing Arts (SCPA) by the next generation of theatre artists.  

FringeNext: The First Book of the Bible (Review)

0 Comments · Friday, June 3, 2011
The premiere of The First Book of the Bible was the first sold-out show of the 2011 Fringe. One of three entries in the new FringeNext category (works produced, created and performed by teens), this work by School of Creative and Performing Arts (SCPA) seniors storms out of the gate with all the makings of a successful Fringe show.  

The God Blog (Review)

1 Comment · Thursday, June 2, 2011
Kathleen O’Neill has spent the last eight years writing The God Blog, a corporate-satire-within-a-radio-play, set in heaven and staffed by Old Testament figures (performed at the Art Academy of Cincinnati). She and director Shawn Maus, who also plays the role of God, have assembled an enormous (by Fringe Festival standards) cast and crew to live-produce this radio drama.  

Curriculum Vitae (Review)

2 Comments · Thursday, June 2, 2011
For the 2010 Cincinnati Fringe, Jimmy Hogg’s confessional storytelling and precocious, high-velocity comic delivery won him a Critic’s Pick award for his monologue A Brief History of Petty Crime. The Fringe-circuit veteran returns to the 2011 Fringe this year with Curriculum Vitae, a chronology of his humorous and humiliating experiences in the working world.  

Headscarf and the Angry Bitch (Review)

1 Comment · Thursday, June 2, 2011
It’s pretty typical for our culture to be afraid of that which we don’t know. We see it every day on TV news and in daily conversations around the water cooler. But what we probably rarely see is the reaction on the other end, how it affects the object of our fear. That’s one of the principle reasons why Headscarf and the Angry Bitch is so welcoming and accessible. And frankly, so needed.  

S/M/L (Review)

0 Comments · Thursday, June 2, 2011
Ideas and ambitions come in all shapes and sizes, and the three modern-dance works that comprise the triptych of S/M/L, presented by MamLuft& Co. Dance, are each in their own way small, medium and large. The first piece, Small: Restless Hands Under a Trembling Table, opens arrestingly enough with a pair of dancers dressed in white, and wrapped in a long red fabric stretching from the opposite side of the stage.  

Denali (Review)

1 Comment · Thursday, June 2, 2011
On first blush, there’s nothing terribly Fringe-y about Denali (performed at Know Theatre). It’s a fairly straightforward play from Iowa’s Working Group Theatre about three childhood friends who get back together for the first time since a tragic mountain-climbing accident claimed the life of the one person who tied the others together. How could one of them profit from the harrowing story by way of a best-selling memoir? What are the others hiding? Will the truth ever come out?  

Transfringement: Circus Mojo Refudiates the Norm (Review)

0 Comments · Thursday, June 2, 2011
As its puzzling mouthful of a title suggests, Transfringement: Circus Mojo Refudiates the Norm is a quirky show with a few too many balls in the air. Five diverse performers from this Ludlow, Kentucky-based circus troupe and training center take turns charming and occasionally impressing the audience with a series of old-school stunts.  

Opal Opus: Journey to Alakazoo (Review)

2 Comments · Thursday, June 2, 2011
Serenity Fisher, creator of Sophie’s Dream, the 2010 Audience Pick of the Fringe, has again brought her hyper-personal and very sincere brand creativity to a Fringe stage with Opal Opus: Journey to Alakazoo. (It’s being presented at the “Hanke 2” venue, 1128 Main St.)  

The Body Speaks (Scripted) (Review)

1 Comment · Thursday, June 2, 2011
At the opening performance of Cincinnati-based Performance Gallery’s entry into the 2011 Fringe mélange I was sometimes puzzled at the direction the show was taking. But my attention rarely wandered far from the 14 very competent actors onstage who appeared in situations ranging from the absurd to the tongue-in-cheek. Creative credits are too many to list, including scripting, directing, conceptualization and development.