Writer: Ernest Kearney

Ernest Kearney, an award-winning L.A. playwright and rabble-rouser of note, has worked as literary manager or as dramaturge for among others The Hudson Theater Guild, Nova Diem and the Odyssey Ensemble Theatre, where he still serves on the play selection committee. He has been the recipient of two Dramalogue Awards and a finalist or semi-finalist three times in the Julie Harris Playwriting Competition. His play Peddle was selected by the Midwest Theatre Network as one of the best plays of 1997. His most recent work 'The Salt Prince' was awarded honors from the Nathan Miller History Play Contest as well as the Fremont Center Theatre Play Contest. A passionate theatre and history buff, Mr. Kearney's reviews can be found on workingauthor.com and TheTVolution.com. Hang with him on Facebook. Comments welcome.
Jul

THE PLAY THAT GOES WRONG

The play never established a reality for me that I could then delight in going to hell in a hand basket. Nor for me was there any surprise to the show. Monty Python is funny to me because nobody expects the Spanish Inquisition.

I’m afraid I just sat there.

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Jul

The Duchess & the Stripper

Directed by Ezra Buzzington, The Duchess and the Stripper is as sharp, fast and sexy as a “grind” number at the top of a burlesque bill. Miller and Chandler are excellent as the two historical notables as is Krista Conti as Starr’s younger sister who is all ga-ga by being in the presence of royalty.

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Jul

Princess Magic's Trash Fire Time Revue

Aside from some clever lines, concepts which are not fully integrated, actors standing on stage as if in a void of performance and a good deal of money spent on costumes and videos, there is nothing really worth seeing that’s happening on this stage.

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Jul

Olivia Wilde Does Not Survive The Apocalypse

Director Robby DeVillez and writer Matthew S. Robinson have whipped together a nice little mish-mosh of sci-fi zombies and cultural references full of sound, fury and silliness.

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Jul

Public Domain: The Musical

Pasternack has some very funny numbers, such as Oedipus singing, “The Way to Become a Hero (is to be at the right place at the right time).”

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Jul

(IM)PERFEKT

The journey is fascinating, as stories of personal struggles against adversity usually are, but what powers this narrative are both the comedic abilities of Ms. Olin and her brilliance in character portrayal which make (Im) Perfekt not only inspiring, but darn entertaining.

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Jul

Temple Tantrum

Director Kimleigh Smith has done an exceptional job of guiding Steinwedell through the torrents of her pain and personal history into a performance that is as honest and intoxicating as her story is riveting.

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Jun

The Mayor's Debate of Tranquility, Nebraska

The real debate here is not so much focused on the limits of political correctness but rather the necessity of rage in a society that has seemingly shattered all its traditional boundaries. In bringing Fringe audiences into this debate, Hanna and crew have provided laughs with the bitterest of aftertaste and a chilling moral: Behind the mockery lurks the monster.

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Jun

Jamba Juice: The Musical

There are really no surprises here except the tunes by Mia Cotton (with additional music and lyrics by Frankeberger, Nick Wuthrich and Katie Dembesky) which are very solid and…well toe-tapping and Spence provides his fine voice to the tunes.

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Jun

The Last PowerPoint

The Last PowerPoint both intriguing and amusing. Yes, Nicholson’s show is not quite there, but there is undeniably a “there” there.

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Jun

Aristophanes' THE BIRDS

Director Sabrina Lloyd does her best, but the production was obliviously a patch work, rushed to make the Fringe. However, while she and her crew bit off more than they could chew, they didn’t completely choke on it. The show managed to spit a couple of well-aimed wads in the direction of that troll in the oval office and it was fun enough to earn —

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Jun

Wigfield

Overall Wigfield is rough and pleasantly ridiculous, and the cast succeeds in getting a sense of the absurd across to the audience, especially Golden.

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Jun

Tattered Capes

Also praise to Director Corey Lynn Howe who skillfully provides the pacing and innovation to Crafts’ intelligent Fringe Award-Gold Medal-The TVolutionand probing script which allows the whole production to leap a tall building in a single bound. A gold medal

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Jun

Raised By Wolves

Ms. Black’s tale is full of humor and hope, and spiced with the startling, unexpected intrusion of the most primal horror.

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Jun

DROUGHT

Kate Radford and Co-Producer Shoshannah Frankel have given the Hollywood Fringe Festival 2019 a work of lyricism and challenge in Drought, an intense melding of myth and song, extraordinarily personal, uniquely entertaining and superbly performed.

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Jun

Pit of Goblins

Last year, Mitchell Bisschop’s reworking of Madison Avenue icons into the Citizen Kane homage of I Can Hear You Now, demonstrated he was writer/performer of both talent and a sterling comic sensibility. This year’s Pit of Goblins reveals a far more twisted aspect to Bisschop. A writer/performer of talent, yes; just one you may not want to leave your children alone with.

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Jun

Lock Your Heart, Elder P.

A modest show with a much needed moral: Anytime one speaks the name of “God” in denying love, the speaker is a liar.

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Jun

A Bit Much

I admit I felt this show, like her last show, had problems, but one thing that I haven’t any problem with at all is Dymalski herself – who is funny, very funny, quirky, intelligent and very, very funny.

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Jun

Start Swimming

Indomitus seeks to be “bold, wild and fierce” but only manages to come off “mild, disorderly and naughty.” They lack, to use a Flamenco term, “garra.”

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Jun

Curry attempts to convey the same existential, everyman slapstick that Jacques Tati did. Sadly, while his sensibilities may be attuned to the French mime and director who starred in such films as Mon Oncle and Play Time, Curry hasn’t even the minimum of chops to pull off the level of “clowning” required.

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