As you all know, Fringe is a pretty fricking crazy place. But since this is the first festival I’ve been able to focus on reviewing shows rather than just surviving it all as a patron, volunteer, or artist, I’m only now becoming aware of how hungry Fringe theatre-makers to have their shows reviewed in absolutely any fashion. Across five posts, I’ve managed to cover 19 shows so far, but unfortunately there are only so many that I alone will be able to humanly get through – so when I stumbled across Halabi’s efforts to offer thoughtful feedback on some of the many excellent pieces I haven’t had time to weigh in on, I figured that making the effort to share his observations through this blog was the least I could do to offer everyone more comprehensive coverage.
When I reached out, he responded with enthusiasm but expressed concerns about whether becoming a “critic” would come with a responsibility to be 100% honest even if that meant expressing negativity. This concern actually makes me more confident about my impromptu choice to feature his work because I can tell he’s taking the complicated tension between our consideration of artists and our obligation to be truthful about a work’s flaws quite seriously.
His philosophy in that regard is actually fairly similar to mine in that I’ve tried to be as generous as I can about highlighting the good points of a given show and downplaying weaknesses without ignoring them entirely. If there were a show I had absolutely nothing nice to say about, I’d just skip it entirely rather than go out of my way to rag on it—but so far, I don’t think I’ve even seen any such shows this festival, and unless a show strikes me as problematic rather than just inept, I don’t see what’s to gain for anyone by being needlessly harsh.
Halabi expressed a similar sentiment, which means that all of the following 28 shows must have enough going for them to make them worth taking the time to write about— which makes me pleased to say that you can find the one I wrote amidst his extensive list.
Not adding pictures and emojis today because this post is going to be long enough as it is, but I will add links to tickets and more information about each show and make a note of which of the following shows I’ve already written about and may have had a slightly different perspective on. But everything else you’ll read after my signoff shortly will be his writing entirely, which I’m just relaying vicariously for now because, as I’m learning, covering a festival like Fringe in any sort of capacity is basically one long race against time.
Recruiting another writer in my efforts to gain ground in this hypothetical race wasn’t exactly on my agenda for Fringe 2026. But following my instincts in this regard feels like it aligns entirely with my original stated intention of prioritizing fringiness over formality in wielding whatever assumed authority I now have by virtue of having full dominion over a random WordPress blog.
More of my thoughts on who knows how many more shows forthcoming shortly (probably) and until then, enjoy these thoughts from Halabi!
-Ilana Jael
Blue
Automatic Orchestra: Just Add Music (Press Preview)
A simple premise executed very well, Automatic Orchestra is an opportunity for the audience to score a play occurring before them. Armed with kazoos, among a few other instruments, no words are spoken except to introduce the play. The audience, as well as guest conductor, watch a very visually exaggerated show, with some repetitive blocking to help the orchestra find a rhythm.
Some of the plot is a little unclear, but it really doesn’t seem to matter. The set feels like a play area you may find at a daycare, in that it is fun and full of childlike wonder. The joy of this show is the experience of performing with the actors, and connecting musically with fellow members of the audience. An extended slo-mo sequence feels a little too slo-mo, but I think your mileage may vary based on your orchestra or conductor.
Let this show take over for you, be in the moment, and be swept away in the fun. Highly Fringe. Highly recommended.
Tickets and showtimes listed here!
Brown
Haunted Co. A Live Ghost Investigation (Press Preview)
This horror aficionado enjoys scares more than most, and as a result, takes pause at the idea of terror portrayed on stage, especially with the amount of production value typically available at a Fringe show. My experience with onstage horror is…haunted houses, so I wanted to temper my expectations. There seem to be many warnings of the intensity between a preshow announcement (which may be related to the press preview) as well as within the script. This increase of expectations seems impossible to meet. I wasn’t sure in what format the scares would come, and I can’t say they made me jump, but I found a few spine-chilling moments aided by some fun, spooky lighting. Creepy, but hardly terrifying.
Things pick up with a video that is mostly funny, but cuts that with some strange happenings. There is also a very convincing stunt performed onstage. The cast/creative team has experience with scare acting at theme parks and those strengths are at play.
The highlights here are the costumes and makeup, undoubtedly. Recommended for fans of horror and behind-the-scenes merits (lighting, costumes and makeup).
Tickets and showtimes here!
The Pink List (Press Preview)
This One-Man musical is about a gay man (an amalgamation of three stories of gay men) who lived through Nazi persecution, and the remnants of the pink lists that affected him throughout his life. Equal parts informative and entertaining, the confident performance transitions flawlessly between monologue and song. Alongside recorded instrumental tracks, there is recorded dialogue for our protagonist to act opposite.
The range and style of singing are kept well within the pocket for the performer, and some moments of belting show off even more range kept comfortably in their wheelhouse. The intimate venue had some songs feel more conversational, though never out-of-place.
How many times have you seen a musical that has a great number and as you are anticipating the moment you get to applaud, there is some awkward line delivery that introduces the next scene? How many times have you seen an intentional interruption of your applause? You can feel the difference, right? For every song in The Pink List, the transition works perfectly, and makes the audience hold their applause. You feel the confidence in the approach, and it forces you to lean in and face the injustice at hand. You will not be given relief.
Until the end, that is, where all of the applause BURSTS out of the audience to a well-earned standing ovation. Do not miss this show.
Tickets and showtimes here
(Ilana’s note: you can read my thoughts on this one here!)
Against Her Wishes: A dark comedy
If you told me a show features genuine, unplanned crying from a performer, I would not expect the performer to be in such control. But this One-Woman show displays some real wit and levity at exactly the right moments. Looking back, despite there being multiple “performances,” I think I was in attendance for a real (bizarre) funeral. In fact, some anecdotes brought real personal weight to the experience for this attendee, and tears flowed for this person I had never met. All of these moments were among a generous improv performer interacting with their scene partner, the audience, so dynamically.
This sort of dark comedy of laughing at a funeral is right up my alley, and I definitely went in predisposed to like it. I wasn’t sure if it would be such a universal experience. But I feel like I learned something, in a packed house of so many people sharing laughs, and some tears, that so many others could relate to this show. Equal parts eccentric and sincere. This show is for everyone. Highly recommended.
Tickets and showtimes here!
Karma’s a Bitch
A play with some quirky bits, characters, and set pieces, exploring the trope of a non-traditional afterlife of bureaucracy can really tickle me. The second half of the script was able to break through the first half’s exposition to pose many questions and quandaries I hoped it would explore, though it ran the risk of losing me completely before getting there. Entrances and exits kept the movement alive, using the venue to the show’s advantage. However, some blocking seemed a little unmotivated.
The standout for the show is the character of Karma, who is onstage for almost the entire runtime, and whose performance grounds the show. Recommended for those who like quirky puns, and are interested in some speculative scenarios for the afterlife.
Tickets and future performance times here!
(Ilana’s note: Actually, since I wrote this one, I know off the top of my head that we have two more performances at 5:30 pm today (Tuesday the 19th, and $6 dollar night!) and at 12:05 on Saturday the 23rd, the latter of which is shaping up to give us our biggest audience yet!)
Green
Wild & Gay Animal Kinkdom (Press Preview)
This is not my kind of show, but I am happy to say it won me over! There is great polish in this surprisingly informational puppet show that makes it feel like it would fit in as an attraction at a theme park. A weird theme park. It’s like if Fringe and Animal Kingdom had a baby.
Puppet performances were outstanding. I found myself cheering for stripteases of puppets. Seriously. Puppeteers fully embodied the choreography. The host sloth had great clarity in their voice, and the enthusiasm of their puppeteer really shined through in moments where they stepped out in front of their midstage curtain. I was brimming with delight as was the crowd.
If you think you want to see this show, go see it. If you don’t think it is for you, I recommend employing that Fringe spirit and try this show out. I am glad I did!
Tickets and performance info here!
MOTHER: A Postpartum Comedy (Press Preview)
It is hard to imagine a place to sit where you avoid being a part of this absolutely insane clown show. Even if you are physically distant from the action on stage, even ringtones that went off in people’s pockets were subject to light jabbing from Mother.
The clown was sometimes a perfect mimic, sometimes gave quick-witted comments, sometimes sarcastic, sometimes rude, sometimes hedonistic, yet always kind. Despite the gross-out humor, you are compelled further into the show due to how intimate and oddly endearing the performance is. The clownwork was a true highlight of this show; the movement, the facial expressions, the interaction with viewers. The performer is always present and garnered so much sympathy during a sequence of apologies, that some audience members shed tears.
This is weird and this is what Fringe is all about. Primal, touching, triumphant, vulnerable. I thought about what qualifiers are needed to recommend this show to, but honestly, I think people should make like the clown and take a plunge.
Tickets and performance info here!
(Ilana’s note – you can read my thoughts on this one here!)
Orange
Masquerade of the Red Death (Press Preview)
Strong dancers, tight choreography, elegant costumes, a light but complete plot, and some very seductive stripteases. This is everything you hope to see in a burlesque show. If you like burlesque, this is a must-see. If you are new to it, this is a fantastic introduction. The polish here is unbelievable.
Tickets and performance info here!
Fogville: A Sparkly Vampire Parody Musical
Amongst the campiest selections at Fringe, Fogville consistently delivers on jokes throughout the show that all played great. Kudos to the production team for having an understudy performance for a Fringe show! Everyone was very talented and I don’t think any compromises were made.
I am not sure the reason for Twilight parodies long after I thought they were relevant, but the nearly full Orange venue proved there is an audience. The humor wasn’t especially for me, but I laughed hard at some jokes. However, this has EXCEPTIONAL choreography, from dance ensemble and main cast alike, punctuated by fun costumes that are changed quickly.
For fans of camp and/or dance, bring a few bucks in cash if you care to participate in a very creative donation request.
Tickets and showtimes here!
OZMA: A New Musical
A beautiful story soars in the Emerald City. This fits perfectly into the Oz canon and shares DNA with so many other iterations, but still feels fresh. The characters have great command of the stage and their vocal ranges, with the ability to show off both.
The production value is a head and shoulders above most other Fringe shows. Wheeled set pieces and characters on carts were a great spectacle. Special shoutout to the puppets and their performers, specifically an a capella routine that gave me goosebumps.
The characters may be in drag, but the story never does; the script feels very naturally paced to fill the hour. I definitely lost some lyrics and dialogue in the back of the side stage section and there was a lot of stagework catered to the center section of seats. If you want to see a high-production musical, catch this and get in line early for the best seats.
Tickets and showtimes here!
Peach
Higher Than Rainbows – An Original Musical (Press Preview)
Higher Than Rainbows features a production that is so polished, but leaves me so frustrated. Every beat is hit so well, from the very large, very talented cast who are directed well and use the whole stage in a great way with choreography and set pieces. The sound and lighting worked wonderfully (some actors did not find their light but this is what this technical rehearsal is for). The songs were pretty good, with interesting music and lyrics.
The script is a fatal flaw. Some Gen-Z slang may have been italicized and stuck out as cringy. Characters are written like caricatures, but are given heart by their performers. Conflicts are unclear, but the tropes the audience have seen before make the plot feel accessible. Some intended conflicts are completely ignored or unresolved. It fits right in with teen comedy movies of today and of the last 20 years, for better or worse.
It is a light, high school dramedy, until it very suddenly isn’t. There is one disturbing scene that, again, is well choreographed, never too gratuitous. But left me scratching my head about how it was supposed to fit with the rest of the show. Perhaps this is a dramatic pivot and it is subverting expectations? Unfortunately, no, it is a really jarring scene that is sandwiched by comparably pedestrian conflict.
I am frustrated because the plot is the backbone of any narrative piece. As a result, the one crucial piece of the puzzle sticks out more than all the rest. The professional performances and technical aspects really wash away most of my gripes. This is still worth seeing for all of the many talented departments working together.
Tickets and performance info here!
Small Minded
Despite my announcement of bias for being familiar with many creative teams of other Fringe shows, I would be remiss not to mention I was an audience volunteer (voluntold) for a portion of this show. I experienced segments of this clown show from a different part of the room than the rest of the audience. I was the butt of the joke for a few minutes. It was only a taste of what the performer experiences living with dwarfism.
The performer takes center stage sharing his experience working in entertainment, often tokenized in the industry. He describes that his desire to be a clown is in direct conflict with the expectations he feels obligated to break free from. There is real heartbreak – this is a sad clown trapped between a rock and a hard place. And the audience is implicitly challenged. Why are you here? What kind of spectacle did you expect from the show?
A few props failed at a tender moment but this is really a thoughtful show, with some great physical and verbal comedy. A few tricks had me curious “how did he do that?” and some unexpected nudity is used to great effect. A great clown show that compels you to consider the ethics of your consumption of entertainment. Check it out!
Tickets and performance info here!
(Ilana’s note: and you can read my thoughts on this one here!)
The Review by Martin Dockery (Press Preview)
This is a straight two-hander play. One room, one scene, all really neat, with a story that unfolds in an entertaining, though sometimes obvious way. There were times I got ahead of the script and waited for the characters to catch up. The actors’ performances are fantastic, and the stage is relatively plain with a temperamental voice-activated LED light strip acting as the four walls of an office. For how minimal the set is, there is an awkward curl of excess lights that feels (quite literally) glaring.
The choice of venue feels inappropriate. The stage was not used to its full extent and the show would make more sense in a different size of venue. The performances were read on the faces of the actors, so you want to be close to the action. The choice of venue was not egregious however: the actors projected comfortably for the crowd. I worry about the wrap-around seating in the venue. Perhaps projection will be less effective for those sitting high up on the sides of the theater, as most of the people in my show were in the center section of seats.
This is, ultimately, a good play that I imagine would be best if seated near the stage.
Tickets and performance info here!
Pink
Poems For God
So much fun was had in this theater! From the preshow snowball fight prompted by the solo performer, through a parade of jumping crowd members in the finale, the “poet” kept energy very high throughout the hour. The volunteer bit was funnier every time, and it was great to see an awesome volunteer. Though, I trust this performer to bring out the best in whomever would be unexpectedly part of the show.
The poems of the show are far from traditional. Despite the outline of completing these four poems as a goal, they are such unrelated segments that the throughline feels disjointed, and more silly than emotional. This is not a bad thing, because there is more variety showcased from the very expressive and quick-witted “poet.” It also keeps things more accessible than some other solo shows that stay with a single, heavier theme.
While it is a very fun time, I walked away feeling just so slightly empty. I am still happy to recommend this to anyone looking for a really fun hour!
Tickets and performance info here!
Scarlet
CRACKS: a one-trans-woman dark comedy memoir
Now here is a wonderfully-realized production. A simple storytelling show told in a room that is just as intimate as the story being told. A chair was sometimes used, but everything was left up to the masterful performance, which was kicked off with an endearing introduction. The anecdotes were superb and each one acted in service of the story. Tangents about the production history of CRACKS and tenderness and was met with a sea of “aww”’s.
Jokes and stories alike paid off in satisfying ways, usually punctuated with an acknowledgement of the joke. I wasn’t sure if I should laugh or cry at punchlines, so I did both. The (teary) eye contact held was so effective in conveying the heavy emotions of the show. The barrier between performer and audience wasn’t just removed, it was demolished.
I recommend everyone sees this and please bring some tissues for you and your seat neighbors.
Tickets and performance info here!
(Ilana’s note: and you can read my thoughts on this one here!)
The Unbothering
A very relatable story about executive dysfunction generates this total clutter of items on the stage floor. The 3-person comedy has some great moments where every square inch of the small stage is used, with particular avoidance to the glass corner (that’s the corner where Marie keeps all her glass). Towards the second half, some tender anecdotes really start to shine through, punctuated by a great comedic performance from the character Ben.
There is an excess of meandering and “dead air” that left the audience a little confused at times and some jokes were delivered in awkward ways that didn’t let them breathe. I found myself excited to see how the plot developed, nonetheless. Though not too polished, there is promise here, and lots of heart for a personal struggle with ADHD is laid out so bare. Check this out if you feel like you might relate with it!
Tickets and showtimes here!
My Life as an “Inspirational Porn” Star!
I was very pleased to learn the wordplay does not stop with the title. This show had me laughing more than any other show this festival. The jokes are sharp, as is the performer. I was definitely on the performer’s wavelength, as I let out a chuckle more than others, but I might just be a very vocal audience member. Some preshow banter with the crowd showed some great command of the room and reinforced the material shared later.
There was a really clear premise in this opening with a montage of newsclips that was effective. The anecdotes were told well and were relevant to the thesis. I think the ending did not exactly come to a point, but there was definitely a very efficient sharing of perspective through these stories. However, the experience for this performer is not one I especially relate to. Perhaps others will be able to connect more.
Nonetheless, this stand-up set has very tasteful set dressing. Some light multimedia use found ways to elevate the story and the costuming was able to bring home what it really means to be “hotistic!”
Tickets and showtimes here!
(Ilana’s note: you can read my review of this one here!)
john jack josie – JUICE
This show has rattled around in my brain for a long time and I am not really sure where I land on it, exactly. There is a great premise that Juice introduces, in that stories from John, Jack, and Josie will be shared, all identities of the same person at different points in their life, but portrayed very vulnerably. They felt real to the small room, and it seemed to feel real to the performer. It was difficult to watch the performer both empathize with their previous identities and lay out their thoughts bare. While Jack was very relaxed, I found myself hoping for Juice to be present again and peel back some of the intensity at times.
And this show is intense. It is ambitious and maybe not all of it landed for me, but it is committed to going there. Moments of tenderness with sniffles around the room, were interrupted by multiple sequences of full-body screaming. It was so loud and grating, which I think meant to serve the story, but those moments stiffened my spine and it cut into moments where I was really getting into it. It lost me. I tried to get back on multiple times, but it seemed to buck me off again. The yelling never really ramped up, either. It was an assault on the ears from the onset, one that was purposeful, but left me cold.
The ending puzzled me the most. Things were shed: characters, tears, makeup, a tanktop. The meanings of which seem obvious but perhaps work on levels I did not fully understand. A hug is requested by the performer, and Juice brings the room back down from the unpredictable, explosive characters that stood upstage moments ago.
Ultimately, I was very compelled. I really hurt to see the performer seeming to put themselves through trauma so raw and sensitive, but that is their process and prerogative. Looking past that, I think I am going to give this another try to see if the finale really brings home the premise. I couldn’t look away, but I feel like I didn’t quite catch the details amidst the dynamics of the presentation.
This is the most emotionally intense live performance I think I have ever seen and is not for the faint of heart. I think the characters are so thorough and un-judged, it may be a Rorschach test for many. Please see this show. This is worth a discussion on both the level of the artistry and the trans experience. Hugs are complimentary with purchase of a ticket. I redeemed mine. I think we both needed it.
Tickets and showtimes here!
Silver
Generic Male: Just What We Need, Another Show About Men
I knew I would enjoy any offering Push Theatrical prepared for Fringe. I was blown away by last year’s Home[sic] and consider it my favorite of last year’s selections. Some unbelievable movement work is featured here, though more focus is provided to the verbal narrative. It spans a few topics within the framework of manhood, such as fatherhood and societal norms of gender. Also prominently featured is a wildly hilarious meta-narrative.
Between the sequences of movement (some made more impressive with complete silence), and spoken portions, there really seems to be a few novel ideas being expressed, and they are explored with a light touch. It is a great exploration of the medium Push does best. Tight lighting cues, a great soundtrack, and some phenomenal slapstick rounds out my praises. Push brings another banger to Orlando.
Tickets and showtimes here!
Yellow
OUT THERE (Press Preview)
Perhaps you were once cast as a tree in a school play. The entire audience gets to play as a forest of trees in OUT THERE! Foliage, lightning bugs, and bodies of water are amongst the roles cast for the audience. The Alaskan forest interacts with Larry, a solo camper who is totally in over his head. Some character development and audience participation occurs, though both feel a little sparse, and are segmented by many night time sequences where Larry retreats to his tent.
The most notable element of this very unique show is the multimedia factor. We watch Larry on stage and around the theatre, but his eyeline is to a smart phone camera he is looking down into, if not on the action in front of him. So much of the time spent with a front-facing camera means seeing Larry on-screen. It seems a little alienating for live theater. My favorite segments were when we saw the rear-facing camera and felt more in-touch with Larry’s perspective, and his camerawork adds an element of great comedy. When secluded by the tent, the front-facing camera shines as it is our lifeline to the protagonist.
All that being said, this is hilarious, and the multimedia format does keep you engaged in one part of the room or another. An impressive recap edited during the performance brings the finale and is shockingly polished. It washes away so much of the awkwardness of the attention of Larry being focused on the phone for much of the show.
This is so silly and I would recommend it if you are looking for a really fun hour to spend with a great performer, less intense or confrontational than similar one-man show options, while still delivering on a wonderfully flawed character.
Tickets and showtimes here!
Onwards! (Press Preview)
The performer of this one-man show admits he is not sure what the point is. I have an idea of what it is about. Not in an ambiguous way where everyone has something different they got out of it, but one that is pretty clear from the (somewhat redundant) topics covered in the show.
The performance is nothing short of masterful, with great singing in a developed style. The lyrics felt rambled, but the songwriting was ultimately full of heart. The music was super catchy! There was a lot of optimism in the face of modern technology. The technology was described as an eagerness to remove decisions from day-to-day life, which did not quite resonate for me.
Overall, there is nothing like watching a master at work perform well, a unique voice employed with great command, and great banter between songs and scripted pieces. A fun time, but I am not sure I bought the throughline.
Tickets and showtimes here!
The Single Rider Songbook
From the opening voiceover that earns a laugh all the way through the bows, every moment of this show was meticulously composed to generate what will be a festival favorite for Disney fans and non-Disney fans alike. Characters found on rides at Disney Parks all have songs in which they take the lead, as well as a few shared numbers. Some scenes find them interacting with dialogue, including one when all their rides break down and they meet at an imaginary breakroom. Clever concept executed thoroughly, and not leaning on a fun idea that stalls out.
Every line was in service of the show, the jokes were funny, the tone was perfectly consistent, the harmonies brought tears to my eyes at the bookends of the show. Music was inspired by the rides of each cast member, and lyrics painted backstories that can fit within the canon of the rides. The actors hit every mark and found their light, the choreography was incredibly tight (I saw that two-finger point!), but not more impressive than the dancing around copyright law, I assume. The volume of more upbeat rock numbers overpowered the singers on solo numbers, but I think the audio mix will be adjusted.
You do not need to be a Disney fanatic for this show, but I am sure a few extra jokes will land. But that’s all you are missing – something extra. There is enough here for everyone. This show isn’t just my most highly recommended, it isn’t just among the best of the festival, it is ready for greater things. This could compete Off-Broadway. The Wednesday night opening was almost sold out and the crowd ATE. THIS. UP! Get tickets before they are gone.
Tickets and showtimes here!
BYOV
Starlite Room @ Savoy
Intimi(Dating): A Cabaret About Sex and Dating
Word play in a title? I am there! This cabaret promises the risqué, and it does deliver. There are stories of dating, with some harrowing tales that made my stomach drop. But a few moments of fleeting positives from the dating scene find themselves squashed, something the performer acknowledges. The show that promises to bare all definitely succeeds. The usage of nudity is not what I expected at all. Nor did I expect names to be named (some names were even recognized in the crowd). This is bold in every way.
The performer opens with a great jazz number she croons to and I found myself really enjoying the songs with prerecorded music. The songs performed live with ukulele (which I appreciate live music at the fringe greatly) were quite repetitive. The same chords and melody were repurposed for different lyrics as the cabaret continued. The voicework in monologues was divine, sultry, and smooth.
Unfortunately, a scheduling mishap had some sound bleed into the venue, which the performer playfully acknowledged. Songs competing with the ukulele and nearby sound pollution simultaneously had her voice drowned out in a few brief moments, unfortunately.
I hope the scheduling error was a one-time thing, but I enjoyed this immensely despite the distraction. You should really see this memoir about the performer’s love life, with special credit to the finale!
Tickets and showtimes here!
Escape Room: It’s Just a Game
The Escape Room show is not really about an escape room, but you already knew that. What starts as a suggestion of two mysteries to be solved, one personal to the characters, starts taking its many turns, something a play with such a simple premise needs to do. And once it gears up, it really never stops before coming to a really satisfying conclusion.
Masterful performances from the two leads make this an engaging hour from start to finish!
Tickets and showtimes here!
Ten10 Brewing (Bside)
Site Specific
The Corner Orlando – Downtown
LUNA | LORRAINE (Press Preview)
This show is what I want to see more of at Fringe. A bold, multimedia concert of a fictional pop-star. A simple, yet creative set surrounding a unique, intimate seating arrangement. Two video sources showing competing versions of music videos for the same songs with perfect sync. Each side of the venue shows different perspectives of the same scene. Performances take advantage of some fun lighting that you won’t see at most venues.
An incredibly intimate breaking of the fourth wall made me gasp. A desperate Luna stares at you, mere feet away, eyes begging for help at her rock bottom. Interesting, original music blaring as a centerpiece.
Now, there were some unusual aspects. The stools were meant for swiveling, but everyone in my showing was craning their necks back and forth. For such a short show, there are still a small number of songs: lots of the show is provided through pre-recorded voicemails or news reports. It doesn’t take full advantage of being live theater. I believe this was to keep to one live vocal performer in the spirit of the pop-star show. But to build around that so heavily blocks out the feeling of live performance. It is bumpy. Perhaps 45 minutes would have made such a heavy story develop and resolve more thoroughly. Lastly, the performance was concluded with on-screen roll credits, not bows (though this may have been adjusted based on discussion with the creative team).
Also, with so much tech, there was something bound to go wrong. This was a tech rehearsal, so I cannot fault the show for that. But so much seemed off, I couldn’t tell what was a deficiency of the production and what was an error on the day. So I will say this: the elements I am most eager to see corrected are the usage of stereo speakers, instead of one speaker in the corner, and audio mixing. I doubt I heard even half of the lyrics.
I spoke with someone involved in the show and this was apparently supposed to be an album before being repurposed for this presentation. That was the right call. I actually cannot imagine it having as much depth in any other form of media. This is a phenomenal tech demo, and a compelling show. I saw things bursting with creativity and technical ingenuity I have not seen before. Do try to see this one downtown.
Tickets and showtimes here!
Trees across from OFS side entrance
The Cage
Audience members become subjected to an arrest and interrogation led by two authoritarians, who pluck a member of the crowd. The process digs deeper than the headlines, and is based on first-hand accounts of I.C.E. detainees, interviewed for accuracy to depict within the show. Some things felt realistic, like the script detailing atrocities many have faced, and the more commanding officer of the duo. But some things were played a little for theatrics, like the highly sadistic, highly animated officer, and the lightly explained masks worn by the audience.
It is certainly effective at generating sympathy for the detainee. There is some loud yelling during the interrogation, some really disgusting remarks that made me grimace, all for a different participant at each showing. And the participant really seemed rattled, like no acting was needed. It should make you uncomfortable, and at times it achieved that for me.
I am just not sure this will be as effective as a tool for outreach. Perhaps this would be a better demonstration when encountered outside of a Fringe festival to get eyes on it from those “across the aisle.” For now, this is likely the most experiential offering at the festival and one that succeeded at making me squirm.
Tickets and showtimes here!
Between the Orlando Science Center and Princeton St
A Final Girl’s Guide To Surviving A Serial Killer
Highly immersive improv with campers gets you settled around the campfire. The 8:30 PM showtime felt perfect to let the impressive campground set come to life with some effective lighting.
The show quickly kicks off with a brief ghost tale and then we are to the main event: a series of fight scenes to the death with various villains. All presented as rules to follow for the audience, composed of new campers. Some choreography is more convincing than others, but all campers and killers committed to their scene. Each fight had a different style of combat, including weapons, and many had a fun theme. A favorite was the fight sequence where one camper thought the duo were dancing as they fell in love, it felt like it came right out of Evil Dead.
The finale is very satisfying, featuring an onslaught of slaughter. Some corny jokes round out the tone of this cursed camp for a very well-realized production. For fans of 80’s slasher flicks, this is surely THE show, and likely the one at the fest with most fight choreography.
Tickets and showtimes here!
—
(back to Ilana)
So… there we have it! These additions bring the total # of shows covered by Orlando Theatre Review covered up to 41 (+ 5 shows double covered) , which I think sort of absolves me of the sin of taking this past Sunday off from reviewing to recharge and recalibrate – but not of my semi-self-imposed obligation to soldier on through as many more as possible of the many shows I’ve seen across previews and performances.
We shall see how I fare, and whether or not I have time to loop back around to add my perspectives on any of the shows Harris already covered- but I’ll try not to do that until I’ve conquered the corners of the Fringe festival that have been heretofore undocumented here. Assuming I don’t, you know, collapse entirely under the anxiety of exposure instead and spend the rest of the day checking ticket sales for my show every five minutes. Meanwhile, hope everyone is having a great Fringe!