We’ll never really know what kept Dickinson a
prisoner in that upstairs room in Amherst, Massachusetts, but if you see this
show you’ll have some insight into the kind of demons or gods that might have
My first tip: Don’t think you can outwit
the Fringe. I like to say that the festival is best described as theater
roulette. Give the cylinder a whirl, pull the trigger and see what
comes at you. Sometimes it might be what you expect, but more often than
not you’ll be surprised.
Harry Nilsson once sang that "one is the loneliest number," but you actually have a goodly amount of company if you're a 2011 Cincinnati Fringe Festival performer. Close to one-third of the acts included in the eighth annual Fringe, commencing this week, are solo performers. Here are some highlights.
Playwright Fernando Dovalina says 'The Comfort of Anger' is a work in progress, and he's right. It's not there yet. There are big and important topics explored, some of them relatively unexplored, and Fringe is a good place to air them. But perhaps not all at once.
Part of the fun of Fringe is the slapdash, on-the-fly sense of some productions. Often this is calculated, of course, a screen for serious theatrical smarts. But after several days of such fun and games, it's a pleasure to walk into a real theater with a generously furnished set waiting for action.
Johnny, a 14-year-old boy from New Jersey, is bullied by his peers and taunted by his Glee Club teacher for being "a little light on your feet." He soon splits for New York City to escape from his miserable life and find something better — particularly people who will appreciate him.
It seems simple enough and therefore not unique: two performers (husband and wife duo Abigail and Shaun Bengson), two mics, a handful of instruments and an otherwise bare stage. But until you factor in the two personalities, their talents and their collective life experiences, you don't realize what a long, strange trip you're on.