“Sometimes, theatre makes you ask the big questions. Sometimes, it forces you to look in a mirror. And sometimes, it slaps you in the mouth, gives you a handkerchief for the blood, and says “Who loves you, baby?”
Celebrated actor, Greek, and wooer of ladies Telly Savalas, dead since 1994, is back—and you’re damn right he’s got something to say. As Savalas, Tom DiMenna is hilarious and in total control of the persona…Gut-bustingly funny from start to finish, it’s overflowing with outrageous stories, sensitive crooning, and some of the best punchlines I’ve heard.” NYTheatre.com
“An alumnus of Second City Chicago, and trained in Shakespeare at the London Academy of Music and Dramatic Arts, DiMenna has good comedic timing and classical instincts. This show is an unabashed tribute to Savalas, but it’s never mawkishly sentimental..and with tongue firmly planted in cheek, DiMenna will let you experience first-hand why Savalas still matters.” CurtainUp
Remaining Performance Schedule
VENUE #13: Bowery Poetry Club (50 minutes)
Sun 28 @ 4:15
“Deeply obsessive love stories aren’t rendered as comedies particularly often — they’re more likely to show up as taut films with titillating titles like Fatal Attraction and Basic Instinct. But when you think about it, single-mindedness of focus, taken to absurd extremes, is a crucial component of farce, and isn’t that a perfect word for describing many romantic relationships? So come up with two killer characters who really want each other and something or someone to get in their way and add an equal amount of laughs, and you have the makings of a crackling dramatic work. That’s the recipe A.D. Penedo has followed…and the results are tasty indeed.” TalkinBroadway
“Mix Mamet’s “Oleanna” with Ionesco’s “The Lesson” and you wind up with “The Three Times She Knocked.” A.D. Penedo’s intelligent and tightly written dramedy about lust and betrayal grabs from the first, although it takes a manic detour toward the end. Intensely directed by Christopher Windom, it’s an amusing cat-and-mouse game in the guise of budding romance.” Backstage (Critic’s Pick)
“The Three Times She Knocked is entertaining from beginning to end and anchored by two intensely excellent performances. It balances moments of hilarity and discomfort, and finds a way to be almost cartoonishly over-the-top (with the intensity of Eric’s love) but never for a moment unbelievable. For love is an irrational thing. It borders on insanity at times. But just how insane can it make us? And just how irrational can we each get? The Three Times She Knocked may just answer that…” NYTheatre.com
“a clever new adaptation of August Strindberg’s expressionistic work A Dream Play…Therrien’s use of masks, puppetry, and the Tadashi Suzuki method of acting is inspired, giving Dreamplay the right sense of off-kilter fun and danger.
The 12-person cast display boundless energy in the creation of the subversive Dreamplay experience…which, in its abstract way, asks how we are able to survive and even thrive in such a sorrow-filled existence. Dreamplay doesn’t offer answers, but it encourages us to ponder the big questions that surround our existence.” TheaterMania
“part dark nightmare, part colorful dream, and a theatrical experience that is sure to be a highlight of this season’s FringeNYC Festival. Writer-director-puppet designer Therrien has done a terrific job coordinating disparate elements into one cohesive vision, and he clearly cares a great deal for his subject matter. The play has been workshopped at the National Puppetry Conference at the Eugene O’Neill Theater Center and premiered at the Connecticut Repertory Theatre. This time in development has paid off with a fully realized production, and one that I highly recommend.” NYTheatre
Remaining Performance Schedule:
VENUE #2: CSV Flamboyan
Sun 21 @ 2:15
Fri 26 @ 7:45
Sat 27 @ 4:30
This contemporary percussion and dance jam takes Japanese Taiko drumming and mixes it with the theatrical sensibilities of STOMP. Add tap, vocal harmonization, a dash of hip hop styling and lighting used to excellent advantage and you’ve got a rousing 45 minutes which will excite and delight even the most jaded fringe-goer… as long as they aren’t nursing a headache.
Director, Dancer, and Choreographer Yako Miyamoto (a STOMP performer herself) has already showcased COBU’s thumping athleticism in other cities, and it shows in the polish and tightly paced presentation. A guaranteed crowd pleaser, and the first show of 2011 to earn a NYCFringeGuide Critic’s Pick.
Reviews – What The Critics Are Saying:
“the seven members of this all-female NYC-based troupe are in constant movement. They do cartwheels, tap dance, twirl, and even stage fight. More than anything, the performers demonstrate a dazzling array of inventive percussion, using every inch of the drums (as well as parts of the stage) to great effect, transitioning seamlessly from primal booms to jazzy rat-a-tat.
Miyamoto’s choreography sets a relentless pace, and not one of the cast members misses a beat, performing the entire set with smiles of absolute joy. Their enthusiasm—and talent—are infectious.” Backstage (Critic’s Pick)
“COBU does not disappoint. In a brief but breathtaking set, Yako Miyamoto and her all-female ensemble of drummers move fluidly from one staging to another, exploring all the ways that seven bodies and their drums can play off of each other. The fact that COBU has effectively mobilized the local Japanese community, who cheered throughout, makes their performance all the more entertaining” CurtainUp
“Watching actor-playwright Jay Alvarez perform…you may be fooled into thinking that it’s not a solo show at all, but a stage filled with a large and vibrant company of actors giving their all in telling how Alvarez’s family escaped from their native Cuba and Fidel Castro’s oppressive regime….this is one hour of totally compelling theater. It will blow away any reservations you might have about seeing yet another one-person show.” Backstage (Critic’s Pick)
“Alvarez embraces his role as the storyteller; his performance is energetic, honest, and heartfelt.” NYTheatre.com
Remaining Performances:
Cherry Lane Theatre, 38 Commerce St. (1h 05m)
8/21 @ 6:30
8/24 @ 6:30
8/26 @ 10:00
Winner of a FringeNYC Award for Excellence in Solo Shows
NYCFringeGuide Critic’s Pick
As authentically Southern and sticky sweet as a warm slice of pecan pie, award-winning storyteller Faye Lane radiates enough effervescent aw-shucks charm to send even the most jaded theatergoer home, moonpie in hand, with an enduring case of the warm fuzzies.
Reviews – What The Critics Are Saying:
“The audience left in high spirits, with bouncy music still ringing out, the very definition of lighthearted—Lane’s mission seemed accomplished.” NYTheatre.com
“With her Texas lilt and gentle demeanor, writer-performer Faye Lane serves up a Southern-fried cabaret show that’s sweeter than banana MoonPies and RC Cola. In fact, one might say that this autobiographical solo performance verges on saccharine if Lane’s sugariness weren’t so darned genuine.” Backstage
“sweet, self-aware and remarkably void of the ego trip down memory lane we’ve come to expect from these ‘growing up was tough for me’ one-person shows.” Downtown Express
Winner of a FringeNYC Award for Excellence in Music and Lyrics
NYCFringeGuide Critic’s Pick
A 9 month run at the improv-centric Magnet Theater has given this zany tongue-in-cheek tuner a chance to refine it’s comedic offerings, and with some fine tuning it could easily be blessed with a successful run outside the festival. Even now, it would be a downright sin to miss the particularly rousing gospel climax of “What would Jesus do?” which is worth the price of admission alone.
The eternal fight between Good and Evil, a vatican sex scandal, an army of killer robot altar boys, and a cheerful score to boot? Hallelujah! - Dante Amor, NYCFringeGuide
Reviews – What The Critics Are Saying:
“Because of peppy performances…inventive direction…and a promising score…’Pope!’ is a cheerful, zany trifle.” Backstage
“There is a lot to like, and laugh at, while immersing oneself in Pope! An Epic Musical. Take the journey while you can—you’ll leave the theatre humming to yourself for a change, even if you feel slightly silly while doing it.” NYTheatre
“It’s wacky. It’s a family affair. And it’s proof that the musical is not dead…this romp is full of smart songs and snappy choreography, with nods to Jerome Robbins and Busby Berkeley. Be prepared for a few good laughs. Wall Street Journal
Winner of the FringeNYC Award for Overall Excellence in Production (Musical)
Original? No. Derivative? You bet. Even so, Bunked! is packed to the rafters with charm. If you are even the slightest bit jaded or cynical when it comes to musical productions this is not the show for you. It’s unabashedly twee, and yet far more polished than 99% of what is generally on offer at the Fringe. If Glee isn’t a four letter word for you, then this production will be a cotton candy confection you’ll gleefully gobble up. - NYCFringeGuide
Reviews – What The Critics Are Saying:
“Bunked!” remains a frothy, giggly delight for its duration” Backstage (Critic’s Pick)
“a mostly pleasant splash of summer campiness” TimeOut NY
What some critics found to be an uncommonly rich offering for the Fringe, with profoundly authentic performances and well drawn characters, another deemed a yawner. Running is a charming, funny, and nuanced piece for those who are undaunted by a play that entirely favors clever naturalistic dialogue over action as the primary driver.
Reviews – What The Critics Are Saying:
“In deportment and style, Arlene Hutton’s straightforward “Running” seems far from the festival’s boundary pushers and burlesques. But it’s no slouch, either…“Running” has its rough edges: the characters can seem willfully obtuse and some dramatic shifts could be better worked out. Then again, the loose, thinking-it-through-as-we-go quality is part of its charm. And that makes it a natural fit for the Fringe.” NY Times
“Although she has a fine ear for dialogue and a good dose of humor to lubricate it, this play is burdened by a lack of propelling action in its lengthy middle, combined with some leaps of logic that undercut its overall believability. The two actors, who are a couple in real life, couldn’t be better: honest and convincing performances from both. In fact, at times the acting is so good that it’s clear Hutton, who wrote the play for them, has actually overwritten it.” CurtainUp
“Arlene Hutton has written some good plays, including “The Nibroc Trilogy.” But “Running,” a two-hander about a late-night reunion between two 50-something ex-flatmates, is a yawn…“Running” might make a sweet one-act, but as a full-length play it crawls.” Backstage
“Accomplished playwright Arlene Hutton has written a smart, funny script with a strong narrative and complete studies of two identifiable characters…The performances by Seth Barrish and Lee Brock are at all times unquestionably real. Their natural connection is honest and touching…The play breezes by, coming to a satisfying resolution; we’re almost disappointed that we don’t have more time with the characters” NYTheatre
“Arlene Hutton’s slick, frequently insightful Running investigates the titular action as a means of coping with life’s disappointments…Playing characters who can run but can’t hide, Barrish and Brock are exceptional, evoking a delightfully natural awkwardness that is both familiar and hilarious. Running is also a strong showcase for Hutton’s wit and craft, though the story sometimes gets stalled on a treadmill of well-executed but redundant banter. A less abrupt conclusion might also help strengthen the play as it crosses the finish line.” TimeOut NY (4 Stars)
Winner of the FringeNYC Award for Overall Excellence in Production (Play)
While it does have very funny moments, this universally acclaimed documentary theater piece is anything but standup comedy. While the events that spurred these tales are tragic, this bonafide Fringe hit is uplifting, moving and inspiring.
Reviews – What The Critics Are Saying:
“For a show about one of the worst natural disasters in this country’s history, ‘The Hurricane Katrina Comedy Festival’ is awfully funny — as entertaining as it is moving…the ensemble…delivers terrifically moving performances.” NY Post
“The production’s chief pleasure is in the relaxed, precise performances of its five veteran actors. The script downplays the horror and outrage expressed elsewhere focusing instead on the kind of anecdotes you might hear from a friend in your living room: politely amusing, occasionally moving, deliberately uplifting.” TimeOut NY
“The evocative true stories assembled are full of fear, courage and resilience. But they are also rich in the flavorful humor, inextinguishable identity and civic love that characterize the inhabitants of America’s most battered city. New York Times
“a moving and captivating storytelling session that chronicles five journeys through Katrina and the weeks that followed…What’s remarkable about this production is its willingness to forgo theatrical trappings for pure storytelling. The minimalist but effective direction and set design…allow the characters to shine through.” Backstage (Critic’s Pick)
A non-linear play buoyed by superb performances that through an exploration of kinship, love, missed chances, sexuality, and interconnection serves as a biting reminder to cherish every moment.
“It’s a rare privilege to be invited into unfamiliar territory and yet to feel instantly at home…A trio of superb actors…beautifully evoke both the banality of daily routine and the sublime potential of human connections.” Backstage (Critic’s Pick)
“Much as in Thornton Wilder’s Our Town, these are people who haven’t realized how special their time together, their fights, or their heartbreaks actually were. But it’s with a charming, moving fervor that The Timing of a Day celebrates them — and everything else about life we seldom cherish until it’s too late.” TalkinBroadway
Winner of the FringeNYC Award for Overall Excellence in Production (Play)
A metatheatrical two hander centered on an obscure bit of history from 1914 when two out of work actors executed a police sting operation entrapping 31 homosexuals in Long Beach restrooms. The machinations of this play within a play within a play may be hard for some to follow, but that challenge is overshadowed entirely by the powerful performances.
What The Critics Are Saying:
“Jacobson’s dialogue sparkles with clever quips and authentic-sounding turn-of-the-previous-century dictation, and keeps the tension and interest high. The play requires a quite alarming chemistry and intimacy, and Bradley and Mammana work off each other like a well-oiled machine. It’s truly impressive character work, a tour-de-force for both men.” BroadwayWorld.com
“A fascinating play, excellent cast and superior production values make The Twentieth-Century one of the best shows in Fringe NYC 2010. The Theatre @ Boston Court is to be commended for bringing this challenging and entertaining play to life.” StageBuzz
“the play is in top gear for the entire 100 minutes running… and though the pace can be exhausting, there is undeniable talent involved.” Wall Street Journal
“a playful and dangerous mix of reality and role-playing that echoes David Ives’s recent Venus in Furs. It’s a dazzling display, and occasionally dizzying. By the end, though, The Twentieth-Century Way’s confusions seem integral to its many satisfactions.” TimeOut NY
Winner of the FringeNYC Award for Overall Excellence in Production (Musical)
Satirizing not only the film, but musical theater itself, this show has garnered acclaim from even the “serious” critics. What it lacks in narrative throughline, it makes up for with abundant ‘Family Guy/South Park’ style zaniness. There are only a few chances left to catch this clever sketch-musical before it becomes extinct.
Reviews – What The Critics Are Saying:
“Not since “Rosencrantz and Guildenstern Are Dead” has there been such a playful re-imagining as Jurassic Parq: The Broadway Musical…The writing is sharp and satirical…The cast is uniformly terrific…Crisply directed by Pailet, the musical pokes great fun at everything from celebrity to musicals to science and more” Backstage (Critic’s Pick)
Dancing dinosaurs struggle with issues of gender identity in this oddball but ultimately enjoyable musical. Wall Street Journal
“surprisingly great, lifting, emotional theatrical moments to be found. CurtainUp
“I can whole heartedly admit that this is the most fun I’ve ever had at a Fringe show.” NYTheatre
“a marvelous cast of “chorusasaurus” who really commit to the authors’ crazy vision…(it) doesn’t just parody the 1993 blockbuster Jurassic Park…it actually succeeds in telling the story from the dinosaurs’ point-of-view.” TheaterMania
Winner of a FringeNYC Award for Excellence in Playwriting – James Asmus
NYCFringeGuide Critic’s Pick
This compelling, dark, and yet often hilarious drama based on a shocking true story comes to FringeNYC on the heels of a critically acclaimed run in Chicago. Brisk pacing, a taut script, and impassioned performances ensure that Hearts Full of Blood beats with a vigorous intensity guaranteed to raise your pulse.
Reviews – What The Critics Are Saying:
“There’s an undeniable electricity that flows through playwright James Asmus’ dialogue from the first scene…Hearts Full of Blood is presented by Chicago’s New Colony theater company, whose mission statement is to use the experiences and strengths of their company members in creating the work from ‘a short story with rough character sketches.’ It’s a creative idea that has produced incredible results in what is surely one of the best plays of this year’s Fringe.” TheaterMania
“the play’s snappy dialogue, shocking subject matter and remarkable leading performance give the Fringe a welcome infusion of quality.” TimeOut NY (4 Stars)
“…an irresistible show…you will continually be amazed at how well this tragic masterpiece is re-invented through vaudeville-like routines…This production reminds you that the essence of theater is not spoken words, but acting” CurtainUp
“a comic tour-de-force. With committed actors, incredible props and more gags than I can count, the show easily entertains Shakespeare aficionados and novices alike. You will have a ball. Now, shut up and go!” NYTheatre
“so thoughtful about character, that one almost wishes more directors would give their shows the silent treatment. Its aesthetic may be low-budget, and some of its laughs may be cheap, but Hamlet Shut Up is one of the smartest Hamlets I’ve ever seen—and certainly the funniest.” TimeOut NY
“In the hands of director Jonas Oppenheim, the drama becomes a comedy—at warp speed. Composer Josh accompanies the play on an electronic piano, which gives the action the look of a silent film and the humor of a piano bar…”Hamlet Shut Up” is all about laughs—not language.” Wall Street Journal
One of the most buzzed about shows of the last week, 3Boys with it’s intelligent, complex, testosterone laden canine allegory has clearly marked it’s territory at the Fringe this year.
Fetched your tickets yet?
Good boy.
“One of the best Fringe plays I’ve ever seen; 3boys has a great script that keeps you thinking long after the play has ended, and best of all, it leaves you wanting more.” Theater is Easy
“It’s short, but still manages to give the audience an ambitious, well-executed story with exciting moments from all involved.” NYTheatre
“Becca Schlossberg’s taut 40-minute play, a canine allegory about the hierarchies of masculine energy, offers a compelling and mournful snapshot of the male psyche…Charmingly bouncing about the stage, the actors seem to be having a blast, but 3boys is no mere walk in the park: It has bite.” TimeOut NY (4 stars)
The talk of this year’s Fringe may well be as incoherent as the “incomprehensible” cult Japanese gangster film it’s based upon, but that hasn’t stopped it from winning abundant raves. If Tarantino decided to direct experimental performance art, it might look a lot like this sexual, violent, action-packed slice of theater.
“To say the play was surreal is a copout, as it went beyond that and straight into Japanese weird. Of course I liked it, for the most part…I may have left the theater going “what the fuck,” but a piece of me wants to do it all over again.” NYPress
“an immersive, inventive theatrical ride…the show links together stylized violence, haunting imagery, purposefully low budget visual/audio effects, live ambient music, and a healthy dose of irreverent humor to create a world so mesmerizing that the delivery supercedes any need for traditional story structure. Here, it is the journey that matters, and it is one well worth catching.” NYTheatre
“a high-octane hour-long experience that’s clever, thoughtful, entertaining and packed to the rafters with violent confrontation.” Downtown Express
A scathingly satirical opera that takes aim at American art, society and culture. Composed by David Chesney, three-time Emmy nominee and current Composer in Residence for the National Symphony of Taiwan.
“Composer-librettist David Chesky takes no prisoners as he goes after the state of American art and culture—particularly the streak of anti-intellectualism that has cursed our country since its founding—with a rapier in his largely delightful satiric comic opera “The Pig, the Farmer, and the Artist.” Backstage (Critic’s Pick)
“The talented cast, spot-on music and sophisticated direction (by A. Scott Parry) make this a farm you’ll be happy to buy.” TimeOut NY
“Unless you are an incurable curmudgeon, you will enjoy this show, no matter whether an opera addict or antagonist.” NYTheatre
Winner of the FringeNYC Award for Overall Excellence in Production (Play)
NYCFringeGuide Critic’s Pick
We have nothing but praise for this delightfully executed comedic fable of light and shadow. Of particular note are the rousing acoustic and vocal performances which add an evocative depth to the russian folkloric setting. If Neil Gaiman, Tim Burton, or the Brothers Grimm tickle your fancy, then the Nightmare Story is an absolute must-see.
Reviews – What The Critics Are Saying:
“If your taste in theatre includes sharp, artful storytelling, puppets, innovative (yet so very simple) use of lighting, live music played by the actors, non-literal while still linear narrative, comedy, and a generous helping of the macabre you’re wasting your time reading this review. Just go buy tickets before it sells out.” NYTheatre.com
Ever wonder what Sarah Silverman’s daughter would be like? How about if Ms. Silverman was a Muslim lesbian, and the sperm donor was Weird Al Yankovic. Well Zehra Fazal has, and she’s proud to demonstrate it for you live on-stage.
“Zehra Fazal is a formidable artist…I have every confidence that this show will keep selling out performances at FringeNYC and will continue to bring us all closer together.” NYTheatre.com
“Fazal is funny, with both an infectious spirit and an endearing way with song parodies.” TheaterMania.com
“the lyrics, mixed with her comedic representations of subjects like her first gynecologist visit, her father’s take on dating and her family’s reactions to each other, wrapped up nicely into a little, definitely haraam, presentation of what is going on under that bitchy headscarf.” NYPress
