Check ‘em out here—some nice snapshots from the Audience Awards and subsequent revelry.

Fringefolk,
Sure, we’ve seen a fair bit of theater, sweated buckets in some overheated venues, learned to turn hangovers into inspiration, and covered 88 shows so far (make that 100 after tomorrow!). No big deal, right? But we can’t be everywhere at all times—just ask this individual—so we rely on you all to keep us honest.
Let [...]

“In the unlikely event of the Rapture,” Natalie Sullivan advises the audience at the opening of Hopelessly Devoted, “please pray for your own sins before praying for those around you.” The chance of rapture here? As advertised, unlikely. The chance of mild amusement courtesy of two über-talented comedians? Much higher.

Patricia Krauss has found the perfect venue for her one-woman “physical comedy gestation,” in which the irrepressible Tooty Johnson—a metaphysically unmoored character played with the halting muggery of a Dana Carvey—sweats her way through an audition that never happens.

Good clean fun—no Fringe-y deconstructionism or naughty bits grafted on or any of that: just an eerily precocious flock of varying ages and heights, all of ‘em with superior stage presence and fine pipes. Also: no shortage of tricorner hats. These folks aren’t just competent, mind you—they really sell lines like “When your process of extermination begins, let our deaths be as swift and painless as you can conveniently make them.” (Even if, you know, they flub the occasional “i’faith.”)

Hey Fringefolk~
We figure it can be pretty hard to keep all these shows straight. To make it easy on ya, we’ve created this page—a comprehensive rundown on all the shows we’ve covered. (We know…it’s a lot to handle.) Make sure to check back, as we’ll be updating this list every day to provide you with [...]

The City Paper‘s theater newsletter can be enjoyed on your home PC, on the diminutive screen of your mobile device, or in handy print-out format in various other ways comporting with Capital Fringe’s Green Initiative. Just one more way to consume the addictive substance known as Fringe & Purge.

It bears noting that this is a tremendously ambitious undertaking. Many more seasoned improvvers restrict their shows to short-form “games,” rather than attempting extended, character- and plot-based invention. Which perhaps speaks to the main difficulty here—that the cast is forced to focus more on the motivic unities than on the jokes. And the jokes, folks, should be sacrosanct.

That the latter is the full extent of the concept makes Cabaret CooCoo a slender thing—Mark, Sabrina, et al. are applying their virtuosity to a project so light it’s almost airborne. Last year’s Manifesto! demonstrated that Happenstance is best when retrofitting its elegant mummery onto haut concepts—or whittling those concepts down to more clownlike proportions, as the case may be. In comparison, Cabaret comes off a bit like “Her Majesty”after the dizzying suite on the second side of Abbey Road: Charming, but with the whiff of an afterthought.

In which your trusty Fringe bloggers disclose sundrie facts — some of which may prove revealing — about their sensibilities. And their sordid pasts. In this installment: F&P editor Ted Scheinman.