Voices from the Fringe: Singer/Performer Victoria Gordon

Making her Fringe debut this year is singer, actor and Los Angeles native Victoria Gordon, who is bringing her cabaret show to the Complex in Hollywood. The piece, entitled Victoria Gordon — Live at the Hollywood Fringe, is a combination of musical performance and comedy.

In anticipation of her upcoming appearance, Ms. Gordon spoke with Better Lemons about her show and her all-around Fringe experience.

VICTORIA GORDON - LIVE AT THE HOLLYWOOD FRINGEBetter Lemons: You performed this show before, right? What’s different about this Fringe production?
Victoria Gordon: I did perform a version of this show before — in September 2018 at the Broad in Santa Monica. But I knew that wasn’t the finished version. As soon as I got the video of that show back, I started taking notes to figure out what I liked and what I didn’t. And I used that to refresh and expand my repertoire, which also led me to write new monologues. At the end of the day, while some of the songs are the same, almost everything around them is different.

BL: And the music… How were the pieces selected?
VG: Everything came to me differently. I love musicals and listen to cast albums all the time, so sometimes, a song just hits me and I think, “I have to sing that!” That’s how the song “Another Round,” from Bright Star, ended up in the show - I was at the Ahmanson, watching the cast perform it, and I just knew I had to do it. Others are old favorites, like “It Might As Well Be Spring,” or characters I’ve dreamed of playing, like Mabel Normand in Mack and Mabel (that’s how I wound up with “Wherever He Ain’t,” one of Mabel’s big moments). And then there are the songs I never imagined singing, but someone else suggested and I quickly realized that they were right. “I Am What I Am” is one I never saw myself performing, but my sister told me I had to give it a try, and now it’s a cornerstone of my act — thanks, Natalie!

BL: How about the band? Did they accompany you in last year’s show?
VG: Two out of three, yes! I met my Musical Director-slash-drummer, Sam Webster, through two contacts: my arranger and a studio musician I trust. They both recommended Sam, so I contacted him and we hit it off right away. He brought in both my bass player, Chelsea Stevens, and pianist, Adam Bravo. Adam is new for this show. He wasn’t available in the fall, but I’m a huge fan already!

BL: Is this your first time at the Fringe? How are you enjoying the experience?
VG: This is my first Fringe as a participant. I had no idea what to expect going in, but I’m really thrilled to be part of it! I’ve met so many incredible people and learned so much about theater and performance. This is such a great and inclusive community.

BL: What makes “Live” a good fit for the Fringe? What can audiences expect?
VG: My show is a throwback. I’ve been describing it lately as an “old-school nightclub act,” back in the day when lounge singers were off-duty Broadway performers. It’s not something that many people my age do anymore, but it’s the only music I’ve ever wanted to sing, and I think Fringe audiences are used to less-than-expected offerings.

Audiences can expect to laugh a lot — usually with me, but sometimes at me—and to hear showtunes they know and love (or maybe a few they don’t know yet!). It’s also just a fun show. I modeled it after Bernadette Peters and Jane Krakowski’s shows, and what I love about them is that they’re just enjoyable shows, filled with entertaining stories and great songs. Nothing too dramatic or depressing; it’s a lighthearted but still touching show.

BL: Tell us a bit about your background.
VG: I grew up in Los Angeles, as did both of my parents, so all of my grandparents were very active in my childhood. My mom’s family was all musical; my dad’s family worked in TV comedy. Both sides were very accomplished, so I got to see what it really takes to be successful in music or entertainment. I grew up playing the violin, but later switched to singing, and haven’t looked back since! I always wanted to be an actress and singer, and got into writing in my teens. I started producing comedic film and TV projects for Amazon while still in college, and post-college, that became my full-time job. But when the opportunity to stage a solo cabaret came up, I jumped at the chance, and Victoria Gordon Live was born. It’s been a great way to put everything I know — performance, production, and live events — into practice at once.

BL: Since the Fringe is a collaboration, what other shows intrigue you?
VG: So many! I have a folder filled with sixty-ish Fringe flyers and they all sound like great shows. I am especially excited for Bunny the Elf, because Christi Pedigo has brought so much sunshine to Fringe this year; Leaving Prince Charming, because Lara Repko’s story is so personal and moving; and Batter Up! My Brain on Baseball, because the idea of a baseball trivia show is just so Fringe.


Victoria Gordon — Live at the Hollywood Fringe plays June 6 (preview) through June 27 at the Complex Hollywood’s OMR Theatre, 6468 Santa Monica Blvd. Information and ticketing can be obtained on the Fringe site.


Voices from the 2018 Hollywood Fringe: David Lucarelli, Writer of ‘Dr. Zomba's Ghost Show of Terror'

The writer talks about the ghost shows of yore, their relevance in today's society and its manifestation at the Fringe.

Making its world premiere at the Fringe is the intriguing-sounding Dr. Zomba's Ghost Show of Terror, a throwback to the theatrical ghost shows that were popular from the 1930s to the 1960s. Writer David Lucarelli was kind enough to answer some questions about the show.

What was the inspiration behind the creation of Dr. Zomba?

I was at Comic-Con one year and I stumbled on a book called “Ghost Masters,” by Mark Walker, about the history of the ghost shows. I found out the ghost shows were this spooky, funny, scary magic show that featured hypnotism, mind reading, a séance, monsters and ghosts. I was immediately fascinated by this lost bit of spooky Americana. I really wanted to see one, but since very few people are doing them anymore and it's kind of a lost art. I figured the only way to see a ghost show was to write one and put it on myself!

What will audiences be experiencing? Is the piece immersive?

The climax of every ghost show is an immersive “blackout sequence,” in which the audience is in total darkness and surrounded by supernatural phenomena they can see, hear and feel! They had all kinds of tricks to make this happen. We went back and studied the ghost show manuals from the '50s, and came up with a few new tricks of our own.

What's your personal history with the ghost shows of yore?

I'm a monster kid and a horror writer. I grew up loving Halloween, haunted houses, Scooby Doo, TV horror hosts, Rocky Horror, Famous Monsters of Filmland, etc. This show is for all the misfits like me.

What are the skillsets of the talent involved?

Dr. Silkini's Ghost Show was considered one of the top ghost shows in the 1950's. A few years ago when the people that had the rights to Dr. Silkini were looking to bring the show back, they hand-picked our star, David M Beach, to be the new Doctor Silkini. That didn't end up happening, but we've very lucky to have David as the star of Doctor Zomba. David is an actor, comedian, magician, juggler and ventriloquist, all of which makes the perfect skill set for him to be the ringmaster of our ghost show!

Kerr Lordygan plays Ear-Gore. He is a Fringe veteran and an award winning actor, director and playwright. Tamara Torres plays Sirena. She's an actress and dancer who has appeared in film, television and music videos. S. Alessandro Martinez is a horror and fantasy writer who is making his stage debut as Dracula. Our director, Kevin Wetmore, is the Professor and Chair of Theater Arts at Loyola Marymount University. Fight choreography is one of his specialties and we'll be utilizing that talent — among many others — in the ghost show.

I wrote Tinseltown, the critically acclaimed crime drama from Alterna Comics, and The Children's Vampire Hunting Brigade graphic novels.

Given the time restrictions of Fringe, how will the logistics be handled?

We allowed ourselves twice the normal time to set up our show (30 minutes, vs. the usual 15). And since we're the final late night show at the Flight theater every Saturday night, we won't have anybody breathing down our necks on the back end, either.

It is. Abacab Studios is the name for all my creative projects. I stumbled on the Fringe Fest last year when a co-worker at Fox invited me to see her perform in a play and I ended up going to four other shows! You can find out more about my other work at abacabstudios.com.

And what makes the show an ideal fit for the Fringe?

The ghost show is a lost art, but you can see its influence in the séances at the Magic Castle, in The Rocky Horror Picture Show, and in the graphics of artists like Rob Zombie. It's in some ways the last vestige of vaudeville, and in other ways is still on the cutting edge of immersive experiences.

Since the Fringe is collaborative, are there any other shows you'd like to give a shout out to?

So many shows sound so compelling I want to see them all! I won't make it, but I'm going to try. Blackballed, about the history of Negro League Baseball, sounds fascinating. Lights Out in the Hermit's Cave is a performance of some of the classic spooky radio shows of the 30s and 40s. Dracula's Taste Test and Cthulhu: The Musical! both sound like really fun shows that might appeal to fans of Doctor Zomba's Ghost Show.

Final comments: We want as many people to see this ghost show as possible. You can save $3.00 off tickets with discount code: BetterLemons. For Fringe participants, tickets are only $5.00 for all shows, and the show is free for Fringe Volunteers.

Dr. Zomba's Ghost Show of Terror plays June 2, 9, 16, 18 and 23 at various times at the Flight Theater at the Complex, 6472 Santa Monica Blvd. Tickets can be purchased on the Fringe site.