Sezze Sun

Remaining performances:
7/24 @ 6:30pm; 7/25 @ 9pm; 7/26 @ 4:30pm

They say: A struggling actor invites friends and family to his parents’ Italian villa for great food, drink and festivities. But he has ulterior motives. Secrets are revealed and covertly filmed in this multi-media exploration of the digitalization and destruction of relationships.

Sheffy says: MTV is filming its 23rd season of The Real World right here in Washington, in Dupont Circle. What’s most surprising is not that the Fringer to your left might soon be a cable TV mini-celebrity, but that this show is still on the air. Who would’ve thought that broadcasting the “unscripted” lives of seven co-habitating strangers would spark a new genre called “Reality TV?” And after Big Brother, Survivor, Jon & Kate, doesn’t the concept ever get stale?

Well how about this play’s angle:  You lock a motley crew of characters in an Italian villa and videotape the unfolding drama without their knowledge. You can probably already guess some of the skeletons that come out when illuminated by the Sezze sun. The conniving mastermind behind the plot is the petulant Ben (Matthew Charles), a British actor-director whose egomania becomes clear in his ranting asides directly into the videocamera.

Toss into the fishbowl his ill-matched American girlfriend, who teaches economics at Oxford, his ex-girlfriend, who’s starting to have success in her own acting career, his patrician mother (played in a standout performance by Karin de la Penha), the flaming hairdresser uncle (humorously played by William Brookes) who mixes his meds and limoncello to set up the requisite gay come-on scene, and, inexplicably, Pete, an American folk-rock legend (Dan Barnhill), whose suave nonchalance reminded me of the Matthew McConaughey character in EdTV (a movie parody of reality TV). Add one more character: the ubiquitous video camera, streaming the action larger than life on the back wall in real time (well, not quite real time—there’s an irritating one-second delay).

To quote the woman sitting in front of me: “The play held my attention, but I’m not sure why.” There wasn’t enough “Drama” to merit that categorization in the Fringe guide, but Sezze earns bona fides for “Experimental,” as the concept was collaboratively developed by the ensemble through rounds of improvisation. That might explain some of the long pauses: were they timing miscues, forgotten lines, or intentional attempts to dramatize reality? Sezze might even get away with “Musical” if you count the ambient soundtrack provided by Pete’s guitar. In fact, the highlight of the show for me was his song, “Recycle newspapers, but don’t recycle your ladies.” The difference between real reality TV and this show: reality TV is more scripted and highly edited.

See it if: You’ve caught yourself making excuses to your roommate about how you were just flipping through the stations, and oh, wait, is this a reality TV show I’m watching…?

Skip it if: You’re part of the real world (and this time I’m not referring to the cast of a TV show).

Cabaret Carousel

Remaining performances:
None!

They say: Blues and Broadway, Latin Jazz, Bohemian Pop and Bossa Nova, our rotating carousel of three cabaret evenings features soulful songs from DC’s Fringe finest: Sally Martin, Richard Tappen, Detra Battle, Stanley Webber, Cecilia Esquivel, Tara McCredie, Pam Ward, Dani Cortaza.

Sheffy says: Monday night is traditionally the night theaters go dark. At the Source, though, one Fringe light was shining for Cabaret Carousel—and that light seemed to attract all the Fringe fanatic moths. For those expecting an old fashioned concert with no skits, dancing, or story, the music did not disappoint. Here, carousel refers to the constantly rotating program from Blues to Bossa Nova to Broadway music over the nine-performance run—really three shows under one marquee. I attended on Broadway night and was treated to 21 numbers performed by talented vocalists Sally Martin, Tara McCredie, and Richard Tappen and accompanied by pianist Alex Tang.

While listed in the Fringe program, this show was also a part of (or a promo for) the Source Theater’s In Series: a mix of music, word, and dance performances by D.C. artists. Yet, fittingly for Fringe, this cabaret had an edgier feel courtesy of Brecht/Weill, Kander/Ebb, and Sondheim. From their namesake Cabaret, they performed “Two Ladies” a playful song about two gals and one guy shacking up. Despite their other namesake, Carousel, Hammerstein’s cheerier tunes were left off the program.

Hearing Broadway songs out of context (and performed without dancing), you start to realize how ridiculous and nonsensical the lyrics can be. This is made even more obvious when McCredie sings a song about a serial killer, “Mack the Knife” (somehow co-opted by McDonalds in the ’80s for “Big Mac Tonight”) or one about her “Sex Appeal,” during which she wore the same sweet expression you might expect if she were knocking on your door to sing Christmas carols. (Though her operatic voice and clear vibrato were delightful.) After two seasons entertaining Fringe audiences, D.C. Cabaret was missed this year, but it’s nice that the In Series picks up the slack for those who like their cabaret less than CooCoo.

See it if: You can travel back in time to one of their nine performances…otherwise, wait for the InSeries opera Cosi fan Tutte Goes to Hollywood in mid-September.

Skip it if: You resent surprise $5 surcharges for purchasing your tickets at the door.

Goodbye Love, Goodbye Joy, Hello Travis McElroy

Remaining performances:
July 23 at 9:45 pm; July 25 at 11:30 am

They say: You make your living pretending to be someone you’re not. Goodbye, love. Everybody else’s entertainment is your job. Goodbye, joy. So is it possible to work in Hollywood without your life turning into a sitcom? Hello, Travis McElroy.

Sheffy says: Jellybeans?! When staging a play gushing with stereotypes, the blubbering young woman who just lost her boyfriend medicates with chocolate ice cream. Even I know that. And there is plenty of blubbering (and jellybeans) in a play about three female roommates in Hollywood fighting over clothes, movie gigs, and men (meow!). There’s Kelly (Kristen Egermeier), the beautiful self-centered actress who’ll do anything, or anyone, to get her big break; Jessica (Teresa Spencer) the out-of-work actress who doesn’t seem to understand how to play the game in Hollywood; and then there’s the sweet Linda (Megan Dominy) with the big heart, yet sans boyfriend.

Thanks to one of the wonderful miracles of alcohol, Kelly awakes one morning to find in her bed the pathetic Travis McElroy (David Dowell). She promptly dumps him on her roommates as she slips out to pursue her career (er, allowing herself to get used by a sleazy, egotistic movie producer who promises her a part). As Travis cluelessly waddles after Kelly, Linda is attracted to his naïveté. Will Travis-the-romantic go for the pretty face, or the big heart? Well, what would happen in Hollywood? I could find no moral in this story, but Hollywood isn’t known for its morals.

The movie producer sums up Hollywood: if you get a big name actor, add some big tits, the script doesn’t matter. Apparently, 10th Muse Productions doesn’t put much stock in scripts either. For example, in what world do these ladies even end up with such a loser as Travis (with internet video gaming providing a venue for dorks to totally avoid social interaction, do people even still play Dungeons & Dragons)? OK, they were aiming for sitcom (without a laugh track), and they do elicit a few legitimate chuckles. But the one-dimensional writing is just tolerably redeemed by some engaging comedic acting. I credit director Patrick Torres for putting together a humorous show that could easily have defaulted to “college theater.”

See it if: You felt that Carrie should have married Aidan in season 4 of “Sex and the City” or you even have an idea what I’m talking about.

Skip it if: You think “Sex and the City” is a porn movie.

So please explain to me why the Fringe beer police start grabbing cups out of your hands at 12:40 a.m.!  Last Saturday night, my friend got up from our table to make room in her bladder to finish her beer, and when she got back at 12:45, her beer had been confiscated—against our protestations.   This Saturday night, after being harassed every 5 minutes by said beer police, the editor of this City Paper blog had his nearly full bottle swiped from under his nose at 12:48.  We were informed that Alcohol Beverage Control has been cracking down (they don’t like ‘em theatre-types, I reckon).

Look, I’m not trying to get Fringe in trouble with the law, but I think I can finish my beer in 10 minutes.  I mean, I made it through college.  If Fringe is really concerned about the law, then change closing time at 12:45.  Otherwise, let a guy drink his beer in peace.

Thou Shall Not Kill

Remaining performances:
July 17 at 9:45 pm; July 19 at 2:15 pm

They say: “A collection of stimulating and comedic one-acts asking the question, ‘Can’t murder be innocent?’ Join a variety of imaginative characters portraying how naively one’s mind can contemplate murder. This show will challenge your own morals and leave you wanting more!”

Sheffy says: Remember how much fun you had in your Philosophy 101 class debating questions like: Is it ethical to kill someone in self-defense or in war? What about assassinating Hitler? If you could prevent someone from being killed, are you culpable if you don’t? Now imagine listening to that debate rehashed for 120 straight minutes. I get it, every scenario is unique, but to make your point, do you really need to beat it over the head with a brick (uh, literally)?

The cast does an admirable job keeping the audience’s attention, particularly the charismatic female actresses, who unfortunately only appear in two of the acts. However, instead of some serious editing, the show opted to save time by skipping an intermission and having the actors talk fast (though otherwise their Southern drawls were convincing).

If the playwrights seriously wanted to engage the audience in a moral debate, the scenarios would have to be grounded in sociological motives for real murder—say, passion, money, revenge, or maybe some juicy sexual infidelity. But by staying in philosophy class, they never transcend a cartoonish view on why someone might be driven to murder. Although they retread ideas from Crime and Punishment (killing just because you can get away with it), the writing just ain’t Dostoevsky.

See it if: You’ve ever watched a murder unfold on CSI and thought to yourself, “I could have done it better!”

Skip it if: You can’t conceive of a two-hour dialectic on murder that doesn’t even mention Kant. Or, you’ve never actually contemplated killing someone: by Act 3 or 4, you just might start looking around for someone responsible to kill.

Here are the Fringe & Purge reviews from last year. Note:  Dates, times, and locations in the last year’s reviews have changed (duh!) so please see times posted below.

Bargain Basement Game Show–Warehouse Next Door, 7/16 @10pm, 7/18 @1pm, 7/24 @6pm

Children of Medea–Bedroom at Ft. Fringe, 7/16 @8:30pm, 7/17 @8:30pm, 7/19 @4:30pm, 7/25 @2:30pm

Diamond Dead (OK, I’m not sure if this is, ahem, a reincarnation, or the sequel)–Baldacchino Gypsy Tent, 7/18 @6:30pm, 7/19 @5:30pm, 7/22 @6, 7/25 @7:30

McSwiggin’s Pub–Goethe Institut,  7/18 @12:45, 7/24 @8pm, 7/25 @10:30pm

Dizzy Miss Lizzie’s Roadside Revue: The Oresteia–Church St. Theater, 7/17 @11pm, 7/18 @11pm, 7/19 @7&9pm,  7/24 @11pm, 7/25 @11pm, 7/26 @7&9pm

Revolutionary: Isadora Duncan’s Words, Music, Dance–Mt. Vernon United Methodist Church,  7/15 @7:30, 7/25 @11:30am

Sorry if I missed any, but I’m sure you’ll let me know…

Remaining performances
July 13 at 7:30pm; July 19 at 4:00pm; July 19 at 7:30pm

They say: You are cordially invited to celebrate the passé-ist glory of Futurist degustation: a tactile seven-course meal of gastronomic revolution. Those without suitable tactilist garb will be loaned one upon entry. Suggested $5 gratuity. R.S.V.P. or food-related concerns to info@banishedproductions.org

Sheffy says: You think you’ve seen “the Fringiest” show? A Tactile Dinner is off the map (actually, it’s literally off the Fringe map, and there are no signs outside to help identify the building, so make sure you write down the address). This is no show, it is an experience, and one I exhort you not to miss.

Dinner guests are greeted by the maître d’ and provided with appropriate dining attire (my “pjamas” were fashioned from tyvec and cork, the tactile sensation of the material being the key ingredient). According to a seating chart that is not immediately obvious, guests are led one-by-one into the dining hall where TV monitors display interwar era clips from fascist Italy (including an animation of goosestepping pasta). What follows is not only hard to describe, but any attempt to do so would dilute the experience. Let me just say that the seven course meal you are served adheres to the Futurist ideology, replete with “gustatory foreplay”.

The performers qua servers are virtually silent, but they preserve a retro sci-fi ambiance. Their original choreography enhanced the menu (or was part of the menu, I’m not exactly sure). If your behavior is inappropriate for the banquet, they will scold you, but they also serve as your guides to fully appreciating the meal with all five of your senses. The polyrhythmic salad, for example, is intended to be enjoyed by using one hand for feeding, and the other to crank the music box that is affixed to your salad “bowl”.

Although this was great fun, it’s the product of serious research on the part of director Carmen Wong. The menu (as well as the formal dinner attire) was actually based on The Futurist Cookbook, published in Italy in 1932. The movement sought to separate eating for nourishment from feasting for multisensory enjoyment. According to the program notes, diners often ate in a darkened room; they buried their faces in their food to activate the skin on their cheeks and lips. One recipe calls for roasting a chicken stuffed with ball bearings to bring out the steel flavor. While the Futurist Movement died with the Fascists, you can now experience their highest cuisine.

And, oh, go easy on the magically-flavored balls…

See it if: You’ve run out of interesting ideas for dinner parties and need a little inspiration.

Skip it if: You skipped lunch to save room in your stomach for your only meal of the day (according to futurist ideology the full stomach is the enemy because it attenuates one’s gastronomic attention).

Beyond Dark Corners

Remaining performances:
July 19 at 8 pm; July 23 at 9:30 pm; July 25 at 1 pm

They say: Black, and Gay in struggle with identity. Christopher Prince and Terry Sidney, seasoned Performance Artists push the envelope another notch by creating a riveting evening of poetry, music and stories exploring conflict between self-value, culture and social politics.

Sheffy says: November 4, 2008, was historic.  African-American voters turned out in record numbers to elect Barack Obama. In California, that record black vote has been blamed for ensuring passage of Prop 8, where 7 in 10 blacks voted in favor of a measure that bans gay marriage.  While both the black community and gay community have struggled for their civil rights, traditionally the two have not gotten along.  So what if you’re both black and gay?  Chances are “Beyond Dark Corners” is not just a metaphor for you.

Here, the secret lives of black gay men are revealed in back-to-back one-man performances by Christopher Prince and Terry Sidney.  Each performs four pieces using poetry, song, and storytelling to evoke their respective worlds.  Prince explores identity: life on the down-low, in which men who purport to be straight just sometimes, in the dark, need a man. Prince is more than disappointed with those that won’t come out of the closet: “We hide inside, the dark hangers gouging at our eyes.”  When a transvestite is metaphorically stoned by the community, he is angry that the “black warriors to protect her are hiding in the bars.”

Sidney could tell a story with his facial expressions alone.  Add his dynamic voice, chiseled body, graceful movement… singing (OK, he does have a single weak spot, but luckily he invites guest singer Nikita Vann with a mellifluous voice that soars).  The anchor of the evening was Sidney’s poignant story about a lover who dies of AIDS.  We share the narrator’s fury as he confronts his lover’s mother who has forsaken her son.  She accuses “you people” for killing him with AIDS.  An all-too-common slander for gay love, she belittled their relationship to mere sex, but, the narrator attests, “I was there when he need me the most.”

See it if: You need to balance Fringe’s multiple bare-breasted women swordplay shows with a buff, bare-breasted man doing a sensuous dance with a gleaming white matador-like cape.

Skip it if: Sitting in a very dark room with the wine from the Warehouse bar in your hand and jazz in the background won’t allow you to see anything  beyond the dark corners of the back of your eyelids.

Remaining performances:
July 12 at 11:00 am; July 23 at 9 pm; July 25 at 1 pm

They say: Academic ambition, Middle East politics, old affairs and new seductions come together in a darkly comic and powerful new play. Four academics and one teenage girl spend a tumultuous night flaunting their peace activism and confronting their deepest passions.

Sheffy says: Middle East peace lures four “professional leftists” together at the Lewis household—and yet, this play does not involve any Arabs. Israeli-born American historian and playwright Doron Ben-Atar instead focuses on the conflict among Jews on how to react to Israel’s occupation and treatment of Palestinians. While all the characters are Jewish, their religion is Radicalism. Picking a fight is in the job description of an activist; actual quotations from anti-Zionist Jews are used in the play (although some quotes were so offensive they were edited out of the original draft for seeming too unrealistic). Checkpoint demonstrations are appearing on college campuses. In “opposing apartheid policies” some academics are boycotting their Israeli colleagues (and in turn being accused of “anti-Semitism”). While acknowledging the legitimate grievances of the Palestinian people, Ben-Atar’s World Premiere production intends to depolarize the dialogue.

The able cast convincingly executes the script’s eloquent rhetoric, providing ample fodder for post-show discussions. Some plot details, though, bothered me—the unrealistic reaction of 17-year old Gwen Lewis after overhearing certain revelations regarding her mother and one of their houseguests is unrealistic, say, or the husband’s inappropriate sexist comments that don’t jive with his otherwise progressive attitudes (after living in Berkeley, I think I know the type).

At the center of this play is a family drama involving infidelity, both physical and intellectual. The marriage between two college professors hits a rough patch; while she’s in Gender Studies at Yale, he had to take a teaching job at a nearby inferior school and is perceived as an academic failure. The wife (who was inaudibly quiet, unfortunately, save for a pivotal midnight outburst) is uncompromising in her extremism and morally blind to alternative views—not to mention selfishly unaware of her husband’s sacrifices. As her husband searches for authenticity, she accuses him of losing his soul. In the world of identity politics, a sex affair is not grounds for divorce, but changing your political beliefs is.

See it if: You skipped the screening of “Deep Throat” on your college campus to attend an alternative feminist event.

Skip it if: You’re only in it for the politics (unless, that is, you get off on academic political intrigue).