Writer: Ernest Kearney
Scraps
Now if this review sounds harsh to you, good!
I want it to sound harsh, because I am tired to my bones of that unholy cabal of pretentious East Coast theaters and dim West Coast TV writers and producers foisting on L.A. audiences drivel such as this.
Stevie Walker-Webb is accredited with directing. I’m curious as to how he did it with a straight face.
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Beyond Glory
Scott’s presence on stage was a study of clarity as he shifted from one recipient to the next carving the distinction of each individual with the understated dynamics that attests to an actor’s mastery of his craft. His was a performance of the highest caliber.
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Let's Write a Musical
A work that celebrates life in defiance of death; skews the coronach’s keening into toe tapping tunes; tells an anguished tale of what’s lost in life’s twilight that echoes with promise of what the future brings. To escape what tomorrow holds a couple turns to the past and finds, there, salvation for their tomorrows to come.
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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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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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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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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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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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(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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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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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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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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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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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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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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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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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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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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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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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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