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

With CapFringe ‘08 poised to blanket DC in a fervid haze of creativity, manic energy and dick jokes, let’s throw some love at those who’ll be doing a lot of figurative and literal heavy lifting over the next 18 days: the tech crews.

Fringe’s boundless “Hey-gang-let’s-put-on-a-show-with-dildos!” inventiveness is great, but even the most stripped-down, raw-boned performance requires some tech/design work. During DC Fringe, crews often do that work in unfamiliar venues amid hot, cramped, rats-nibbling-away-at-your-Crocs conditions.

And it must needs be done quickly. Bear in mind that there’s no such thing as Tech Week in Fringe: Groups are generally allotted two hours of tech rehearsal for every hour of total performance time during the festival. If that sounds generous, consider how much of that time gets gobbled up by setting up, testing and breaking down equipment.

In short, the universe conspires to prevent the kind of small, smoothly timed theatrical moments that audiences take for granted in non-Fringe performance. By all rights they shouldn’t happen, and yet they surely will. One of the main things I loved about that pirate queen show last year was the ingeniously economical way it dealt with  technical constraints.

So if you see something during Fringe – a sound, music or lighting cue that works perfectly, a costume that wows, even a bit of stage blocking that speaks volumes – tell us about that moment in the comments.

And if, while out Fringing, you should happen upon some crew member looking particularly harried/sweaty/beset by vermin, buy ‘em a drink.

Trouble viewing? Try the YouTube version of this video

What’s a wrap party without karaoke? Unfortunately, we’ll never know. But thanks anyway to Playbill Cafe for the loan of their insanely extensive singalong setup. (Has anybody ever karaoked “Ina-Gadda-Da-Vida”? Or “Eve of Destruction”? Why?) And to RnR Bar & Lounge for hosting the festivities.

Here’s a medley of brave Fringe performers, fans, and friends doing their best, one assumes, to keep the party hearty. Apologies to Emily (pictured), who actually turned in a stunning American Idol-worthy performance of Aretha’s “(You Make Me Feel Like) A Natural Woman.” But someone—still looking to assign blame—didn’t turn on the microphone.

Now, name that tune…

Providing a suitable sonic accompaniment to the theatrical shenanigans was Basso Moderno Duo, which is Allan von Schenkel and Kristen Williams on bass and keyboards, respectively. Interestingly, just outside the club, another two-piece band, Curly & the Rocket, set up for a “fringe to the Fringe” concert. C&tR features guitar and drums (with female drummer Curly pounding it harder than Cindy Blackman. Which is very hard), so if the four got together, they’d create one traditional band.

But this is Fringe, so traditional isn’t on the program. Moderno’s mission for the evening was strictly improvisational. This, explained Allan, was necessary as the group needed to decompress from it’s recent grueling program at the Smithsonian, where 10 newly commissioned pieces were premiered. The band has commissioned 100 original works in the past two years from a who’s-who of classical composers, such as Ned Rorem, James Niblock, and a certain Yoko Ono. And get this: Yoko called them. How cool is that?

Basso Moderno is presenting 69 Ways to Fall in LOVE at the Warehouse Mainstage Theater, 1017 7th St. NW, on July 22, 24, 25, and 29. Chocolate and flowers are promised for all attendees.

Plus, we’re unveiling the first-ever, super-fantastic Fringe Confessional! Come confess your Fringe sins–and anything else you’re in need of confessing. Best ‘fesses may be posted here. And who doesn’t want to see that?

See ya there!

We caught up with Damian at the Fringe Box Office grand opening last week. The location, also known as the Unified Launch Theory, and incorporating a stage called the Launching Pad. The site was designed by noted D.C. artist Robert Cole and Fringe technical director Scot McKenzie. It’s a fun spot, reminding me of a Tastee Freeze stand, circa 1962. Probably not the intention, but that’s how my mind works, especially in this heat.

Jeff you may have seen with the partyriffic Joker’s Wild. Or, if you’ve been to a Nationals game, you may have heard the band’s baseball anthem, “Swing Batter Batter,” which won the team’s “Show Us Your Pastime” contest. And last time we caught Jeff and the Jokers, a certain Sen. Thompson was in the house, squiring a leggy blonde. Hmmm…

Eric is a veteran of such seminal D.C. punk bands as Big Black Nun and No Trend, and has the distinction of being one of the last D.C. musicians to play the Bayou, which he did with his band Congregation on that fabled Georgetown club’s last night in 1999.

Dan’s latest project is Gigahertz, a Cream tribute. Listen to these tunes and tell me that’s not Messrs. Clapton, Bruce, and Baker. Amazing.

Finally, though he didn’t get on stage, we were delighted to meet Eddie Lounge. Never one to miss a marketing opportunity, Eddie was passing out literature for his upcoming Fringe show, which he promises to be bigger and better than last year’s. We’ll have a video interview with Eddie up soon, as well as video of the Box Office soiree. It was quite the do.

Witness Fringe excerpts from Swami Yomahmi, Lysistration, the puppet stylings of BurleyQ, the Pabst and Popcorn Hour, Nautch DC, Bouncing Ball Productions, and SpeakeasyDC.

So much more to come…

[youtube:http://www.youtube.com/watch?v=uWlypJED7-g]