Meanwhile, Fringe diversions, Never-Know-Who-You’ll-Run-Into department: That was activist and brother-annoyer Candace Gingrich at this afternoon’s performance of Children of Medea.

And the street was abuzz about the Secret Service-fueled delay at today’s closing performance of Peace Warriors. The First Lady? The Boss Himself, even, ducking the beer-with-Gates buzz for a bit?

Nope: Apparently it was Rahm Emanuel, whose daughter (so the word on the street had it) was in the show.

So: Y’all seen anybody fun?

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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.

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I tell this anecdote to broach an unfortunate matter which warrants only brief mention on this blog — a percolating dispute between two Washington theater companies over a production of The Lost Ones that I reviewed (quite positively) this week.

The current production comes courtesy of Spooky Action Theater. Directed by Robert  Richard Henrich, performed by Carter Jahncke, it’s an adaptation of a short story by Samuel Beckett called Le dépeupleur. Between 1999 and 2004, SCENA Theater mounted several productions of a similar piece, also called The Lost Ones‚ in D.C. and in Europe, directed by Robert McNamara, also starring Jahncke (and at one point showing in the same space it currently occupies, The Warehouse).

McNamara issued a press statement alleging that the concept and several specific artistic elements of Spooky Action’s production were, as he puts it, “pirated” from SCENA’s earlier work.

Unless one of you fine readers has seen both productions, there are no clear answers here, and even then I’m not so sure how clear they’d be. At this point, it’s essentially one artist’s word versus another’s: Jahncke insists the piece is different and new; McNamara finds those claims dubious.

“This is a different production,” Jahncke said to me. “It’s been totally and utterly reworked, and I can only believe that it’s been reworked for the better. Where I was with SCENA, it was incomplete. I don’t spend years thinking about and months rehearsing a piece that’s already as good as it can be. This is an entirely different show.”

When I told that to McNamara, he responded: “I don’t see how it can be any better than what we created, to be quite honest. Things can better after years and years of work. But what I would argue now is that you’re seeing a substandard version of what was created by the SCENA Theater.”

McNamara says he has not seen Spooky Action’s production, nor does he plan to. He has asked Spooky Action for “rightful attribution.” With regards to legal action, McNamara says his theater is “exploring other options.”

While this dispute is a minor blemish on an otherwise extremely convivial festival, it does offer an opportunity to ponder some potentially instructive questions — most interestingly, when a director and a performer collaborate intimately on a solo performance, to whom and in what measure does that intellectual property belong? Is Jahncke being accused of plagiarizing himself? Or just those elements of the production that were not his brainchildren?

The comments await: Light it up, people…

Also, I’m curious what people think so far of this year’s more densely situated venues.  I work in the Mount Vernon Square-Convention Center node, and it definitely strikes me as more vibrant than last year, when the venues were spread out across northwest.  Then again, maybe it’s just the swarms of middle school tour groups going to my head. (They wear name tags; we wear buttons.)

Leave a comment after the beep.  (BEEP!)

But if only as one last reminder that this year’s Fringe has been a bit more multidisciplinary than it was in years past, I thought I’d point out what the WashPost has to say about the Tehreema Mitha Dance Company’s contribution to the festival.

I’ve always been impressed by the technique and the focus Tehreema and her disciples exhibit in the more traditional Bharatanatyam repertoire — that’s some heavy-duty stuff — and by the expressive range she finds in both that material and in the classical-contemporary fusion pieces she choreographs.

So check ‘em out, if that’s the sort of thing that appeals to ya. Three shows left: Tonight at 8:30, Saturday at 5, Sunday at 5.

So…what’s turning you on?  What’s turning you off?  What’s turning you around in circles?  Good God, please, tell us!