Friday 10/12-Sunday 10/28 (plus outer borough shows 10/1-10/31): My favorite annual NYC event is the New York International Fringe Festival, which has grown to become a major force in New York theatre...and an absolutely wonderful experience for anyone who loves vibrant live shows. The largest multi-arts festival in North America, this 21st annual FringeNYC offers around 80 productions running from October 12th through October 28th at its primary hub in the West Village. In addition, venues in Brooklyn, Queens, Staten Island will be hosting FringeNYC-affiliated shows during the entire month of October. FringeNYC productions run the gamut, including theatrical comedy, theatrical drama, musical, opera, sketch, improv, dance, solo, puppetry, clowning, performance art, and children's. I won't be doing my usual comprehensive coverage this go-round (am juggling a lot of professional balls right now), but will provide some guidance as the fest goes on: FringeNYC 2018
The following are the FringeNYC 2018 shows I've seen from beginning to end. (Shows that I walk out of mid-stream—sometimes just because time is exceptionally short for me this month, but sometimes to avoid tearing my head off—aren't mentioned.)
The shows are listed in rough order of personal preference, with each production assigned one to four stars using the following rating system:
**** = Transcendently Great
*** = Solid & Worth Seeing
** = Unless Your Relatives Are in the Cast, Think Twice
* = "I Wanted to Kill Myself"
I'll be updating the list often, so please make a habit of checking this page frequently.
Please also note that I very seldom rate a show four stars. (For example, during FringeNYC 2016 I gave only 5 productions **** out of 58.)
All that said, what follows are the 27 FringeNYC 2018 shows I've seen to date from beginning to end, listed in rough order of preference:
Do This One Thing for Me ****
I'm a child of Holocaust survivors—my mother spent WWII in a concentration camp, and my father as the leader of a Jewish commando unit in the woods of Poland. So I have some sense of what's authentic on this subject.
This solo show by writer/performer Jane Elias is the real deal.
Elias hits the right notes in her sensitive and observant portrayal of her father Beni, who (barely) survived Auschwitz and Bergen-Belsen. She shows him hovering over his only offspring like she's a fragile doll, always worrying about her safety, and obsessed with her getting married (i.e., continuing a family line the Nazis very nearly wiped out).
Elias applies the same clear eye to portraying herself as a woman with extreme and opposing feelings. For example, she virtually never dates Jewish guys, yet finds the guys she does date seem small next to the gravitas of her father...and his devotion to her.
Those who live through trauma as intense as Beni inevitably pass some of that along to their children. Elias chooses to confront those feelings head-on in her mid-30s by visiting the concentration camps, which have been turned into tourist attractions. She shares that experience with us...alternating with mesmerizing, gut-wrenching tales from the past Beni tells about his struggle to not be exterminated in those camps.
And Elias is choosing to confront those feelings again—and create an artful tribute to the memory of her dad—by performing this show.
The Holocaust is so inhumanely immense and severe that it takes a special talent to do any story about it justice.
Elias pulls it off.
Off the Grid ****
Sometimes I Google a performer before deciding whether to see his show. When doing that for stand-up Raanan Hershberg, I landed on a roast battle in which Hershberg destroyed his opponent Jay Welch with a single line, cleverly taking advantage of the fact one of the judges was beloved comic Big Jay Oakerson. (You can watch it by clicking here; the pertinent round starts at 16:39.). This video proved that, at minimum, Hershberg was a way talented writer of one-liners—which, if you're coming from the literary world, is the comedy equivalent of being a poet laureate.
What I couldn't tell was whether Hershberg also had the discipline and deep understanding of stories to create an effective long-form work—especially one on as small a topic as his having to spend a single day without his iPhone. The fact is very, very few comics have the skills to create both finely honed jokes and movie-like tales that take you a memorable and satisfying journey.
Gentle reader, I'm delighted to report that Hershberg is one of the rare jewels of a writer/performer who can do it all.
His one-man show Off the Grid is virtually non-stop laughs, delivered by a veteran stand-up with great intelligence and impeccable timing. But it's also so carefully and shrewdly constructed as to emotionally sneak up at you at the end and leave you deeply moved. If you're someone who spends too much time online, you might even find it life-altering.
This is easily one of the best-written and best-performed shows in the festival. It's also one of the finest one-man shows you're likely to see anywhere.
Netflix, if you're looking for your next comedy special, here it is.
But gentle reader, don't wait for the TV version. Take advantage of the opportunity FringeNYC is providing to experience this intimate, magnificent show live by nabbing tickets here; just $12.30 each using promo code ACRBV21.
Chaos Theory ****
This production starts out pretending to be a scientific lecture about and demonstration of chaos theory.
But it's really a highly interactive show that uses comedy and thoughtfully structured game-play for nudging audiences to explore their wishes and desires, push past boundaries, connect with everyone around them, and be open to anything.
It's all courtesy of writer/performer Jessica Ellen Creane, who cycles between faux-shyly giving illustrated talks about such things as fractals, love, and velociraptors, making herself fearlessly vulnerable, and improvising quick-witted responses to audience choices. For example, when Creane asked me to name a goal, I replied, "writing and selling a movie." She immediately gave me the best pep talk I've ever had, stating beyond doubt that I'd succeed. In gratitude, I added, "I'll cast you in it." Without missing a beat, and fully committing to her scientist character (wearing thick black-frame glasses with no lenses), Creane tossed off, "I'm not good at acting" before moving on to help someone else. That she even thought of that line demonstrates what a superb actress Creane is...and how completely she performs in the moment.
Because this show is so heavily dependent on interaction, each edition will be different based on the decisions made by you and your fellow audience members. Along the same lines, how much you enjoy it, and genuinely get out of it, will depend heavily on what you bring to it.
For me, it was a **** show. If you come experience this—and you should—I hope you have a wonderful time too; and that it moves you closer to your dreams.
Enlargement ***
Truth be told, I didn't have high hopes for a musical comedy about penis enlargement. But curiosity got the better of me.
And I'm so glad it did...because this is one of most energetic and fun productions of the festival.
Jake Smith (member of superb UCB musical improv group Rumpleteaser) & James Donahower have written a show filled with lively, clever lyrics and dialogue, and extremely enjoyable music (performed by a fine band named "The Dicktones") that will probably have you smiling throughout.
Also fine is the cast. Cynthia Bonacum simply blew me away, as she was constantly radiant and irresistibly likeable as an actress, and demonstrated one of the most beautiful singing voices you're likely to hear at the fest (and while pretending to be Russian!). I expect this young performer to enjoy a stellar career.
Other standouts included Ken McGraw, a comedic actor who was way more funny and charismatic than he needed to be playing the lead's best friend; Jake Smith as the lead, who in addition to writing the show has a distinctive singing voice; and McLean Peterson, who believably played the most popular girl in school.
I'm not rating this higher because, as it stands, the characters are all two-dimensional and the story is almost nonexistent. But the book could be vastly improved by a script doctor who better understands how to structure stories; and the current high concept, sharp comedy, enjoyable songs, and dance numbers give this show commercial potential.
So for this first version of the show, come to simply have a good time. (I'm mostly a story person myself, and I had a blast...)
Pretty Sad White Girls ***
When I'm not reviewing FringeNYC, I cover comedy; and one of my most joyful discoveries on that beat this year was Pretty Sad White Girls. Back in March I wrote "Lisa Bettencourt & Jillian Schiralli are a comedic musical duo who deserve your attention. They combine witty original lyrics with beautiful harmonies, hitting notes that may make you happy for days afterward. If you love Garfunkel and Oates, then you'll probably also adore these superb artists working a similar folk comedy vein." While the songs—both the music & lyrics are written by wondrously talented rising star Lisa Bettencourt—are still top-notch, Jillian recently got married and dropped out of the group. Her brand new replacement, Katie Emerson, is a skilled theatrical actress with a beautiful voice, but—to my eye—is still in the process of figuring out how she "fits" as half of a comedy singing duo. Also, the banter between songs doesn't always quite hit the mark; and at 50 minutes, the show feels too short. (Then again, "it left me wanting more" is as much a compliment as a knock...) So I absolutely recommend this show. I just feel that, with further development, it could rise to a **** rating; and it wouldn't at all surprise me if it becomes increasingly greater as the festival goes on.
One Christmas Eve ***
This short story anthology consists of nine stories set in a mall on Christmas Eve, with individual tales by Lynne Haliday, Arlene Hutton, James Hindman, and Craig Pospisil, plus a closing song by Gretchen Cryer. The show is charming throughout, and offers a number of both lovely and fun moments. And the cast is uniformly fine—one of the most professional of the festival—with the standout Adrienne Paquin, a luminous redhead who manages to be both warm and funny, and who earns most of the big laughs.
This production doesn't try to dig deep or be life-altering. But it provides a feel-good holiday experience that may leave you with some fond memories.
Eulalia: A Bedtime Story ***
Infanta Eulalia, born in 1864. was the youngest daughter of Queen Isabella II of Spain; and, as this marvelous solo show details, she had to balance the responsibilities of royalty, and the limitations placed on women, against her desire to live freely and at her full potential.
While the theme is compelling, what makes this show truly special are writer/actress Sarah Cuneo's smart, thoughtful choices for her script, and her sensitive, passionate, graceful performance. For example, you won't find many one-woman shows that include image clusters; but this production starts with an adorable parrot strangled for saying the wrong thing, then at its mid-point has a king choke to death in mid-sentence, and near the end has a woman toying with a black scarf around her neck as if it was a noose. While Cuneo (who is a clever Lupton) never calls attention to such patterns, the struggle to speak one's mind comes up repeatedly and effectively; and the gentle ways women combat authority is conveyed in Cuneo's soft, loving gestures and dancer-like movements.
I'd rate this 45-minute gem higher if it simply delivered an ending worthy of all that had come before it. However, an extreme choice the historical Eulalia made is—to my eye—inadequately examined (for example, I was left wondering if postpartum depression played a part); and a song Cuneo concludes with is, while lovely, oddly anachronistic. So I'd recommend a bit more work on the conclusion.
That said, if you want to experience a beautifully written show about a woman's fight for freedom and dignity performed by one of the finest actresses in the festival, come see Sarah Cuneo—who, to my eye, is a star in the making.
Late Night at the Serpent ***
This 40-minute drama, thoughtfully and finely scripted by Ally Sass, provides us with a swift punch to the gut and then plenty of time to brood about it afterwards.
On the logline level, it's about two former high school students who run into each other years later...by getting stuck in a porn shop during a snowstorm.
Thematically, it ties in with recent national news; but to say more would give too much away.
Actors Joseph Dalfonso and Trevor van Uden are both terrific; and so is the direction by Elizabeth Callahan.
The ending is exasperating, but intentionally so. (And anyway, endings are hard...)
Again, I can't say much more without spoiling the plot; but this is good. See it.
I Favor My Daddy ***
Jamie Brickhouse is a superb writer and performer who's famed for his previous solo show and memoir Dangerous When Wet: Booze, Sex, and My Mother. In this new one, Brickhouse changes his focus to his father. The problem is that his dad simply doesn't come across as interesting as his mom. Also, this story isn't filled with tales comparable to his previous ones of sex with ex-priests amd dwarves.
To my eye, this is a work in progress. It has promise, but needs more development.
That said, seeing Brickhouse perform anything is a treat, and worth doing.
'33 (a kabarett) ***
When the President of the United States regularly attacks the press, and now appears to be trying to cover up the brutal premeditated murder of a Washington Post journalist, this one-man show about 1933 Germany couldn't be more much timely. An impresario of a once-thriving cabaret returns to its ruins after all his stars have presumably been imprisoned or killed by the government to stifle their diverse and unpredictable voices. To honor their memories, and also the audience brave enough to risk their lives by even being there, he embodies those who've been lost—a song-and-dance man, a showgirl, a clown, and more—and performs their greatest hits to keep their spirits alive. Writer/performer Bremner Duthie was inspired by the sad history of the Eldorado Club in Berlin, which was closed by Hermann Goering and then turned into a Nazi headquarters, This production set at the start of Hitler's rise to power is disturbing and haunting, but also quite artful. Please note it's not for every taste; to get a feel for whether it might be a fit for yours, please click here.
Opening Night ***
Sharp sketch comics Kristina Grosspietsch & Devin O'Neill (who perform regularly at NYC's Magnet Theatre) play various duos experiencing the opening night of a Broadway show, including the director & stage manager, stagehands, audience members, and most notably the production's stars: Hollywood divas who are twins trying to make their comeback...while continually feuding. For example, a memorable show-stopper consists of the sisters performing "Let's Call the Whole Thing Off" while both refusing to take the male role... It's a bit of fluff, but it's also fearless female comedy fun.
I'm Just Fine ***
As you might intuit from the photo above, Nina Mozes is an extremely warm, playful, and charming comic and storyteller. And she pretty much has to be to make enjoyable a series of horror stories about doctors who are clueless and the opposite of helpful when being presented with Mozes' symptoms.
Based on my own research and personal experience, the greater tragedy is that what Mozes has isn't rare; it's a silent epidemic that tortures millions. That doctors are still essentially unaware of this, and as likely to make things worse than better, is arguably scandalous.
That said, I'm coming from a very outside-the-mainstream place—e.g., my (non-medical) suggestions include going organic and vegan (no meat, eggs, cheese, etc.), avoiding GMO such as corn and canola oil, avoiding gluten, and avoiding toxins; and consuming things like Maine wild blueberries, garlic, cilantro, cat's claw, L-Lysine, red marine algae, Hawaiian spirulina, nettle leaf, licorice root, lemon balm, liquid zinc, and vitamins C and B12 daily. (And possibly Nature-Throid for any hypothyroidism, which is more likely to be effective than T4-only pills such as Synthroid.)
Once I realized the condition Mozes probably has—which I guessed very early on, but still remains undiagnosed by her physicians—I lost the ability to purely enjoy the production for what it was and mostly sat fuming about all the mistakes her doctors made.
I'm therefore neither recommending or panning this show, because I can't really be objective about it. But I can heartily recommend Mozes as a performer; and if you have any issues with your thyroid, EBV, or a myriad of mysterious symptoms that doctors either can't identify or tell you are incurable, you'll probably relate to what she has to share.
The F#@%ing Wright Brothers **½
If you've ever wondered what it's like to be on the road performing a non-equity children's musical, this show pulls back the curtain in an entertaining way. There's a great deal to like about this comedic play with music, including such clever bits as instructing us as if we were kids and providing a faux audience talkback. Plus the extremely likeable cast is one of the best of the festival—in alphabetical order, Harrison Chad, Jarid Faubel, Jordan J. Ford, Montana Lampert Hoover, Joseph Medeiros, Randy Merrill, and Tam Young.
On the downside, the characters are rather two-dimensional; the relationship issues are a bit too repetitive and soap-operish; ultimately not a whole lot happens, which makes the two hours feel a bit draggy; and the ending—while arguably realistic—is less than entirely satisfying.
So there's room for additional depth and invention on the script side. That said, I'm glad to have experienced this; and if, like me, you know a lot of actors and see a lot of stage shows, you'll probably enjoy it too.
Hillary Clinton's Song Cycle: Witness **½
Random songs about the heartbreak of Hillary's 2016 election loss can't help but come across as dated, especially a month before the 2018 midterms. That said, this is well-intentioned, and a few of the songs are especially memorable, such as the lovely Walk in the Woods (click to listen) and the musical plea to President Trump "Please, Won't You Come to an Unfortunate End?" Also, keyboardist and co-singer Deidre Rodman Struck is superb—frankly, outshining the writer & lead singer who plays Hillary—and is reason enough to come experience this folk cabaret. Here's hoping Struck goes on from this to create her own show.
OPIE **½
Chicago-based sketch duo Olivia Nielsen & Patriac Coakley are skilled performers who understand both comedy and darkness. I wanted to 100% love this, but the writing was simply too hit-or-miss. That said, the sketches that hit the bullseye—such as the "deer in the headlights" bit, or the encounter between the mom and the teen boy who likes conversation—are as fine as anything in the fest. Also, Olivia Nielsen's expressive face and disciplined character portraits are well worth catching, particularly if you're a casting director seeking fresh talent.
Grand Rounds **½
The term grand rounds refers to a formal meeting at which physicians share information about patient care and hone clinical reasoning skills. In this show, terrifically organic actress Caroline Luft gives just such a medical lecture...except it takes increasingly uncomfortable turns as it veers from the professional to the personal. The script by Chris Adrian has an impressively Aaron Sorkin-like density & pacing—you can actually read it by clicking here. For me, the material starts out strong but doesn't quite come together. However, you may well feel differently, so please feel encouraged to skim the script and then decide if you'd enjoy having it expertly performed by Luft.
Cracks **½
This play is about the effect a suicide has on the loved one who's left behind. However, it doesn't have a lot of insights to offer beyond—in a nutshell—keep on living, and keep taking chances, because we're here to make the world a better place and connect with each other. (And you probably already knew that...)
That said, the dialogue flows well. And two of the cast members are notable.
Wilson Douglas brings a level of energy and sense of humor to her role that helps the play from becoming one-note.
And McLean Peterson—who played the most popular girl in high school as a somewhat damaged ice queen in this FringeNYC's Enlargement—here shows off more of her range as a sexy, seductive pursuer of fun...who's also prone to suicide attempts. It's a tricky set of character traits to pull off, but Peterson manages it with such graceful ease that she steals every scene she's in. Peterson is slated to appear in a Marvel Netflix series this winter, and is worth keeping an eye on.
The Shape of a Girl **½
James Franco and Me: An Unauthorized Satire (10/27 performance) **
Some of my very favorite FringeNYC shows have been improvised, ranging from Naked in a Fishbowl (2007) to Your Love, Our Musical (2015). But each of those shows had been practiced and perfected in that format by the same group of performers for years before they brought it to the Fringe.
In contrast, the only common elements of this improvised show are its originator Kevin Broccoli, a brief outline he developed to give it some mild structure, and the other person performing with him pretending to be James Franco. The improvisor playing Franco is different for each show—which means there's no opportunity for the duo on stage to develop an almost magical level of collective skill with the format.
In the performance I attended, that really hurt the show. Well-done improv should result in a steady stream of laughs, or at least continual entertainment. But while Kevin and his guest were quick-witted fast talkers, there were very long stretches when I simply had no interest in what they were saying and doing; and I spent most of the show bored.
I can see this being an interesting idea on paper. And who knows, with a different guest, it might even work. But for the performance I attended, the execution just wasn't there; and, to my eye, the current approach makes failure more likely than success.
There Has Possibly Been an Incident **
I'm usually pretty open about format. But when this show started with three humorless actors seated in three chairs that weren't facing each other, and appeared to have no intention of interacting with each other, and each was holding a stack of pages, my gut feeling was "Oh no..."
That concern quickly became justified. The pages were artful, but in a way that was ponderous for a live show. For example, from the first few minutes: "He was wearing a white shirt. He was wearing a white shirt. He was wearing a white shirt and black trousers." This would be fine for print, or even for a podcast or radio play in which the listener can control the pacing. But for a captive live audience, to my ear, it was a playwright being self-indulgent.
To be clear, both the writing and acting are okay. But see this only if you actually enjoy having a whole bunch of pages read to you on stage.
The Gibson Girl **
This play is about siblings dealing with the loss of their mother, and deciding what to do with both the father left behind and his assets...and a free-spirited outsider named Kristin who will potentially turn their lives upside down.
The supporting actors are fine: Jeff Paul as the dad who may have dementia, and Melissa Roth and Jeannie Dalton as his daughters. The problems are with the leads—the son's role is handled by the playwright, who isn't really at the same level as the other actors; and the pivotal role of agent-of-chaos Kristin required more than the actress cast was able to bring.
As for the script, it starts out well, but veers increasingly off the rails as it goes along, resulting in an ending that's not at all emotionally satisfying.
There's a potentially good idea here. But it needs development.
Turing Test **
This science fiction drama started out well, with a really interesting analysis of a sonnet. But then, inexplicably, the writing seemed to lose direction and imagination, with action slowing to a crawl and story logic falling apart. Also, the "surprise twist" is not only evident in minutes, it's explicit in the show's title (if you don't already know, Google it). The only reason I'm not rating this lower is my fondness for the first 25 minutes (out of 100), and the solid performances of all four actors. Still, there are better ways to spend your time.
Devices of Torture *½
I've never been—for better or worse—a client of sex workers. But as a book ghostwriter, I've worked extensively with dommes, fetish experts, and call girls, so know there are many fascinating stories to tell in this field. Sadly, almost none of them make their way into this poorly scripted and badly directed play, which consists of a hodgepodge of scenes that individually fail to provide insights, depth, or even simple entertainment, and then add up to even less.
The primary rays of light amidst the gloom are Olivia Jampol (above, third from the left), the only one of the four actresses who manages to rise above the disappointing material, and whose ability to be consistently interesting is the main reason I didn't walk out; and a scene in which a customer wearing a red "Make America Great Again" cap asks to be punished for his vote in 2016. The head domme responds, "I think you'll find several people here willing to beat the shit out of you. Or you can walk out in that hat and get a free beating from any New Yorker who sees you."
The latter is nicely put. But overall this show is itself a device of torture, and you can probably role-play a better one on your own.
Ants *½
This multimedia performance art production from Israel consisted of slow-motion dance that I found dull, clowning that to my eye was neither magical nor funny, and video clips that weren't especially interesting. (I'm not even sure why it was called Ants...)
I was so disengaged from this oddball conceptual show that I hesitate to criticize it, and am more inclined to simply say that it wasn't for me.
But given that only six other people attended the performance, it might not be for a whole lot of other people either.
The Last Jimmy *
This trial for "Jimmy, the last black man arrested in the world," features an Inept book and dreadful direction (by the same person), and a pace that rivals molasses. As for the casting, the actor playing the judge was so laid-back I wondered if he might fall asleep at any moment.
The writer of the show's music and lyrics, a hip hop artist associated with The Roots, also originally played the lead role of Jimmy—but, very unusually, he dropped out after the first few performances. (I don't know the reason why, but maybe seeing the show through an audience's eyes made him realize how terrible it was...)
Luckily for me—and the 12 other people in my audience for the fifth & final performance (word of mouth presumably got around)—two standout talents stuck with the production.
Khalil Munir is a terrific tap dancer who stole every scene he was in. He merits his own show.
And Reg Smith proved himself to be a phenomenal talent, with the grace and kinetic energy of a dancer, a singing voice that belongs on Broadway, and the charisma of a star. (If you're casting anything, give Smith a close look.)
If this production was just Munir and Smith, it would be amazing; but they're allowed only a small fraction of performance time. Here's hoping they each move on to way better shows, both on stage and on screen.
The Existence Formula *
The cast's three actors are likeable. But I found the meandering, stream-of-consciousness script so boring that it made me reconsider my own existence...and not in a good way. Skip this.
After Burn *
I was looking forward to this, figuring one couldn't go wrong with a show "based on interviews with combat soldiers returning from deployment in Iraq in 2005." But while the source material may be authentic, the resulting play comes across as a boring, over-the-top soap opera. Even worse, the cast provides shockingly wooden performances (a notable exception being Leif Steinert, who effortlessly steals every scene he's in, but doesn't appear nearly often enough...). It's hard to imagine how this production went so wrong. But if you're seeking a thoughtful and well-executed play about US soldiers and PTSD, avoid engagement with this one.
Copyright © 2018 Hy Bender
Email: hy@hyreviews.com
