Fringe wins again this year. I give up. I’m officially broken.

By the way, I LOVED The Fate of a Cockroach. I’d been asking myself where all the black artists were in Fringe and the answer is they’re all in the cockroach play (along with all the Fringe artists over 40). I dug the play itself and admired the simple and pure committment of the actors. It reminded me of early Cherry Red shows where the actors were blessedly unself-aware and oh-so-committed to the absurdity, despite the lack of a production budget. There was zero vanity in this production, zero deadly cleverness, and zero wink-winkage.

The cockroaches all wore bike helmets that had been elaborately decorated with long wings and antennae. The Queen Cockroach’s bike helmet kept slipping back off her head with every line so for a while it became The Play About The Bike Helmet Slipping Off The Queen Cockroach’s Head. She stayed in character and eventually, about 10 minutes into the scene, took it off. No one missed a beat. The scene changes were interminable, and during one of them, the overhead projector had timed out so what was on the screen were the words “No Signal (?HELP)” on a blue background.

A gorgeously brave effort from a group committed to nontraditional casting and community artistry. Their purity of approach served well the pathos (not bathos) of the story of a man caught up in the struggle of a cockroach struggling to escape from a bathtub.

LYSISTRATION was a bit of a confusing mess that could use some more focus and dramaturgical help, but some fun moments, some fun performers and some pretty great songs especially when belted by the kick ass drummer (and I believe songwriter). Otherwise, this one’s still in development stage. It’s not Jello yet.

THE TROJAN WOMEN – not sure why this is in Fringe, BUT it was very very well staged with some modest stylized movement work and I have to say, a cast that vies for the best cast award at Fringe, along with ABSTRACT NUDE and NUTSHELL (and who is that handsome Greek soldier?). Its a 55minute adaptation. Am not a Greek tragedy fan, too much repetitive hand-wringing, but when this kicks into gear its worth the visit – especially if you like your Greek tragedy short and concise like this one. At Source Sat 4:30pm.

GUERILLA NEW MUSIC is Great Noise Ensemble doing a program of new music (read contemporary but desonant in the classical mode). It’s a coll program and something different in the fest from plays, solo shows and dance. Some of the pieces like the two man handclapping piece by Steve Reich, and the one with the Coke cans, but theyre weird and short. Other stuff I wouldnt really clasify as ‘guerilla’ but it was a well performed program, one piece based on Lewis Carroll’s Walrus and the Carpenter with nice vocals (I can’t say by whome since none of the performers were listed in the program – bad marketing person, bad!). At Source, Sunday at noon (plus they have dates throughout the coming season at various locations).

Also saw Too Much Light Makes the Baby Go Blind (Blind Babies for short). I’m not terribly into sketch stuff so I also was a little disengaged from this but the audience seemed to have a hoot. I admire their energy and consistency and general sense of fun. I left a little irritated because they didn’t get to two of the scenes and one of them was the main one I was interested in seeing–Kittens Are Happy on Fresh Litter Day. I found myself laughing hard at Three Angels from Three Different Heavens, ABC Dance Dance, This Chick Don’t Dance, Lollapa-Lincoln, and Games, Damn.

Today it’s Two by Mee, Fate of a Cockroach, then I’m speaking on a panel at 5 at Olsson’s, then it’s the Pabst and Popcorn Hour and–provided I can stay awake–the midnight show of Cautionary Tales. I’m bummed I’m not going to get to see everything I want to. Ack! I’m gonna be late for Two of Mee!

Peace in your crease.

FYI: We have about ten tickets left for the midnight show. If you want to see it–buy yours now. It is sure to be a hoot, indeed.

We have played to excellent houses throughout the festival and anticipate another full house when we return for our final performance on Sunday July 29 at the Warehouse.

It is because I have received the support of so many audience and staffers at the Fringe that I feel compelled to clarify false and negative statements made here regarding Romeo & Juliet: CSI and to encourage all readers to attend as many of the fringe performances as your wee pocketbooks will allow. I know I am cramming in as many shows as my schedule will allow!

So for clarification:

 Although, the company includes talented young actors, R&J: CSI is not a school project, nor am I a teacher in a school setting. My studio, THEATREWORKS explores the work of Lessac, Grotowski, Brecht and Boal. Since when does creating a human statement in theatre require actor’s equity or university or professional company affiliation? In fact, I thought that was the point–we, on the fringe, or beyond it, are making our work and sharing it. I am eager tol participate in the panel discussion of “new art/ancient texts” on Saturday to discuss the creative process that brought about this piece.

 This is not just another R&J. Through the deconstruction of the text, CSI illuminates the Bard’s uncanny observations of this most modern problem. CSI presents the classic text in new paradigm—the modern epidemic of teen depression and suicide. The premise is the surviving characters reconstruct the previous days in a ‘psychological autopsy’ to answer the question: why? The piece has been recognized by mental health professional organizations such as the Suicide Prevention Coalition, CentraHealth Mental Health Services and the Crisis Line for providing an innovative forum for communication and education. The Theatreworks Repertory Company has successfully toured R&J: CSI throughout Virginia to acclaim from audiences that indeed didn’t share ‘genetic material” with us.

 Finally, who would trivialize as ‘psycho-babble’ a discussion of suicide risks in teens? Suicide is the #2 killer of college students and the #3 killer of teens–more than all other health issues combined. We educate our young people against all forms of sexual, substance, social and health related risks from rape, STD, pregnancy, AIDS, tobacco and racial/social violence—but we do not include mental health screening materials in our teen health awareness programs. CDC stats in our epilogue are clear: 95% of suicides were found to have a diagnosable mental illness. Shouldn’t we all know the signs? Is it not the intention of art to break through the wall of silence surrounding tender issues of the human condition? For young people in America, and in fact, around the world, suicide risk is an alarming public health crisis.

Thank you Callie for your support and best of luck on Nutshell…which I have heard IS a must see…

And, btw, David, the only middle schooler in the cast was that little girl you liked so much, and her business with the knife Juliet used (not Romeo) which “upstaged the suicide lecture” –was indeed a directing choice.

Long live the Fringe!

I saw Cautionary Tales and loved it. I’m sure Saturday’s midnight show will be a hoot.

I also really liked This Digital Life, but much of my fascination was because of the subject and not the acting. Worth a view on Saturday at 2:30.

The Truth about Annie Moore was somewhat interesting – go if you are a big history buff. See it Saturday at 7:30.

I wasn’t a big fan of Nutshell. See my comment on the main Nutshell review.

A 45-minute gutpunch of a play, “For Boston” (a world premier by Michael McMahon and Lucas Maloney) left me stunned, exhilarated, and eager to see what this company has in store next. I left the theatre with that feeling we all hope for during Fringe, that we’ve just discovered something new, something special.

“Boston” tells the story of two drinking buddies, and a Labor Day weekend gone mortifyingly, epically wrong. Staged on a set made up of only a few grey wooden boxes on the bare Flashpoint floor, director Lucas Maloney guides his four game actors through alternating monologues of increasing depravity, misogyny, and horror, while managing to find the humanity in the characters and crafting a coherent morality tale. Credit the actors, especially the divinely wicked Danny Gavigan, for finding the humanity in these superficial hedonists, and their decent into karmic hell.

Did I mention “For Boston” is a comedy? And a hilarious one, too. Pitch black dark, to be sure, but the dialogue sparkles and the one-liners go down smooth, like good Boston ale. Body fluids flow and f-bombs are dropped at a rapid pace, folks. This one’s sure not for the kids, but for discriminating adult Fringe-goes looking to go for a walk on the wild side, “For Boston” is sure thing.

Lest I be accused of too effusive with my praise, I must note a major flaw in the shows technical craftsmanship, but one that can be easily fixed. I’m a fan of underscoring, and the cinematic feel it lends to a show. Some key moments in “For Boston”, a play much driven by monologue, are underscored much too loudly. It’s never good when the lyrics of the background music drown out the actors. A nice guitar solo or instrumental track would have worked just as nicely to create ambiance, while allowing focus to remain on language driving the scene. Perhaps this was simply a first-night mistake, and the kinks will be worked out over the course of the run.

All in all “For Boston” has been my great Fringe discovery of the year. I heartily recommend it, and I can’t wait to see with Moltov does next.