“a lot of fun, and if you’ve ever been curious what all the fuss around gaming is about (or, perhaps, contributed to the fuss yourself), this is exactly the kind of thing the Fringe does best.” CurtainUp
This is a quality romantic comedy, one that will make you laugh, show you a great time, and put a smile on your face as you leave the theatre. NYTheatre
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
Winner of a FringeNYC Award for Excellence in Ensemble
Reviews – What The Critics Are Saying:
“The Cooney Lumber Mill can’t seem to go an entire month without an “accident”—and its bloodthirsty secretaries are to blame. They are a cult-like bunch that engages in vicious rivalries and lesbian romances. But their motivation for killing lumberjacks once a month is never quite clear enough. Are they really only after the lumberjacks’ jackets? Is it just PMS? The gross-out humor on display reduces one’s urge to explore the ideas further.” Wall Street Journal
“The Five Lesbian Brothers’ raunchy, gory satire from 1993, The Secretaries, is currently playing in a spirited revival at the Lucille Lortel Theatre. A new era and a new cast (and the bare-bones production values of FringeNYC) blunt the chain-saw sharpness of the original, but only a little, and a play that was born in a time when killer-lesbian movies (some of which are name-checked in the play) seemed to be everywhere holds up well in the Age of True Blood….The direction by Mark Finley keeps things moving, though there are scenes that could be more focused, and he cannot prevent the play from losing some steam as it goes on, a problem even in its original incarnation…These are minor quibbles. The sold-out audience I attended had a great time with this murderous crew, and I suspect you will too.” NYTheatre
“a wild and dangerous concoction of lesbian pulp fiction, campy non sequiturs, and misogynist stereotypes exploded from within. The current production, directed by Mark Finley, is also one of the sexier shows of the summer…Finley successfully taps into the smart, aggressive spirit of the Lesbian Brothers — an opening computer-age Greek Chorus scene is spot-on — but he’s less adept at keeping the pace and energy up throughout the production. Missed cues slow the action down and some of the actors overdo the noir aspect of their characters at the expense of something more unpredictable.” TheaterMania
“This sort of comedy needs speed and polish, which the capable cast could provide if it were given the proper support. There’s a revival here waiting to happen, but this particular incarnation is destined for the chipper.” TimeOut NY (3 Stars)
“while there are some zestful—and even unconventional—flights of fancy in the piece, the comedy is really nothing more than a meandering excursion into wan camp…the play, unevenly guided by director Mark Finley, has zigzagged unconvincingly and uncompellingly from scene to scene. The ensemble…give spirited and smile-inducing performances, but it’s not enough to elevate this anemic romp.” Backstage
“The play is very funny at times, with some of the most talented comic actresses around…but somehow it seems a bit lifeless, perhaps due to very long pauses between scenes, or perhaps the show has simply lost a bit of its bite and shock value in the last 17 vivid years.” BroadwayWorld
Winner of the FringeNYC Award for Excellence in Performance - Geraldine Librandi
In a Nutshell: A humorous punchy drama that transcends it’s occasional cartoon like characterizations with high production values, snappy pacing and a solid cast.
Reviews – What The Critics Are Saying:
“a poignant domestic drama… the entire ensemble is well-cast and seamlessly inhabits these Boston folk…What this play lacks in happiness, it gains in emotional honesty.” Wall Street Journal
“What starts out as a blue collar ethnic comedy ends up being a profoundly moving rumination on loss, regret, and grief…Lost and Found succeeds on the strength of an impressive team effort.” NYTheatre
“Lost and Found, at the Fringe NYC, burns with some amazing performances that strain at the confines of The Cherry Pit Theater. And, as benefits the story, the set and the space can barely contain the characters.” Reviews Off Broadway
“The music is mostly wonderfully catchy rock ‘n’ roll, which is certain to get toes tapping…The cast is spectacularly funny, perfectly selling the tongue-in-cheek style…While the script is very funny, the storytelling falters a bit…at times the script feels as though it was written to include a random song that Oliver had on his back burner, instead of letting the music come from the situations. With a tighter structure and perhaps a trimmed second act without an intermission, the show could be a powerful piece of theatre; right now it’s merely one of the funniest shows around.” BroadwayWorld
“At least there are pistols, sheriffs, and sinister landowners on display in Viva Los Bastarditos!…Much of the script is beyond twee (superheated marshmallows feature as weapons), but it includes at least one genuinely great song (‘Western Mass’) and several other hummable ones.” Village Voice
“a fun rock musical that doesn’t pretend to have any heavy meaning…It is a welcome silly mix of farce, standard musicals, and rock opera that will slap a smile on your face from the get-go and keep it there ’til the final bows…If you have a penchant for Family Guy and love Rocky Horror, you’ll love this show.” NYTheatre
“You lose track of who’s winning in the often very winning and wacky rock musical Viva Los Bastarditos, but really, who cares? It’s too long and too loud, but I give it a long and loud round of applause for its loopiness and off-kilter killer instincts…Not everything works, but you admire the cheekiness…The songs work, but some could use some tweaks and tucks and sharpening to bring them to the level of the wit and slyness and method-to-the-madness in the dialogue…see www.bastarditos.com for more and to hear the songs. But a word to the wise: these are wise guys and some of the songs can’t be appreciated out of context as regular songs.” CabaretExchange
Winner of the FringeNYC Award for Excellence in Playwriting – Matt Saldarelli
Somewhat uneven in it’s mix of high and low-brow comedy, Getting Even With Shakespeare could fully realize the potential of it’s clever premise with a bit of judicious pruning. Even so, in it’s current incarnation this satirization of The Bard, theater in general, and playwriting itself, provides enough laughter for a satisfying outing overall.
Reviews – What The Critics Are Saying:
“Somewhat reminiscent of Tom Stoppard’s Shakespearean spin-offs, this comedy has an interesting conceit, is theatrically clever, and is funny…By the time you exit the theater, your mind will be saturated with echoes of Shakespeare, Beckett, popular culture, and more. There are jokes about the theater and amusing cracks about Shakespeare’s characters. But, unfortunately, all this entertaining stuff loses its dramatic center after an hour.” CurtainUp
“Though the play is called Getting Even with Shakespeare, it’s an irreverent show for Shakespeare aficionados and theater fans to laugh at. And while the references to Pirandello, Jean Paul Sartre, Samuel Becket, Christopher Marlowe, and Harold Bloom may be highbrow, most of the punch lines are not.” NYTheatre
“Getting Even With Shakespeare imagines that some of the Bard’s most famed creations are alive and well and watching over the way they’re being presented on stage in the 21st century. Unfortunately, Saldarelli veers away from this extremely funny idea early on, and though there are plenty of spirited performances in Laura Konsin’s sturdy enough production, the merriment initially evoked by the piece wears thin.” TheaterMania
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)
“Highly acclaimed in his native country, the Dutch comedian has a boyish demeanor that belies a wicked comic sensibility. Even as he jokes about such hot-button topics as aboriton, gang rape and the handicapped, his impish smile and accent make even his most politically incorrect material seem benign.
The only aspect of the show that doesn’t quite work is a contrived theatrical framing device in which Wertheim claims to be dreaming, complete with interruptions by an onstage alarm clock. (It does, however, cue a funny bit about snooze alarms).This Fringe Festival production marks his US performing debut. Who knows when he’ll be back? Catch him while you can.” New York Post
“Equipped with political incorrectness and envelope pushing, storytelling meets stand-up comedy in Dutch performer Wertheim’s screwball dream world…With a mixture of Borat-brash panache and the tulip sensibility of liberal Netherlands, we are immediately won over by Wertheim’s deceptively endearing foreigner’s charm. So stellar is this jaunt that the audience at the show I saw doubled over in laughter and was left speechless by faux extrapolated explanations of American culture. All the while, Wertheim plays with our sense of political correctness, justified by a comedian’s license… If you like Cohen’s Borat and Izzard’s Dressed to Kill, you’ll love Wertheim’s Amsterdam Abortion Survivor.” NYTheatre
“It’s edgy humor, indeed, but he delivers it with such casual and impish glee — landing closer to Jon Stewart than Dennis Miller — that only touchiest theatergoers are likely to object. And when his act follows the traditional standup route, Wertheim’s timing and delivery are razor-sharp. But, perhaps to make his performance seem more theatrical, he frames the show as if we were peeking in on one of his dreams — the better to justify walking onstage in his underwear and a blazer and doing a bouncy, clapping routine to “Ring My Bell.” The payoff for these bits, which include a childhood tale about avoiding a fine for forgotten library books, simply isn’t justified by the lengthy setup.” TheaterMania
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
It’s been suggested that all humor is rooted in tragedy, and this metatheatrical comedy digs deep to unearth far more laughter than it’s subject might suggest. Musical numbers, a game show parody, and a healthy sprinkling of “inappropriate” jokes maintain the levity in what is ultimately a poignant, funny, and affecting show despite uneven pacing and performances.
Synopsis: Kate Morgan is 25 years old and dealing with her mother’s death.
Her solution has been to write a comedy about cancer and its effects on her family. To perform this show, she has enlisted her father, her brother Tim, and a few of their friends, all of whom she has asked to portray themselves. (A professional actress has been hired to play Mom.)
She thinks that everything is running smoothly, but all bets are off when her loved ones break from the script and start saying how they really feel. The audience watches as the family members alternately clash and cooperate in an effort to resolve their competing version of the same life story.
Reviews – What The Critics Are Saying:
“This play about a woman reconciling the death of her mother veers from wickedly funny to deeply moving, but is thoroughly and consistently enjoyable…Chris Kelly’s script swings from moments where you’ll wish you had brought a tissue to moments where you’ll split your side laughing…a very funny, deeply tender work.” Theater is Easy
“Laughter is the best chemo…a very touching show.” NYTheatre.com
Winner of the FringeNYC Award for Excellence in Performance – Marina Squerciati
While slight in terms of significant biographical exploration, Marina Squerciati’s remarkable performance turned this crowd-pleaser into a bona fide Fringe hit, despite it’s relatively lukewarm reception from the press.
Reviews – What The Critics Are Saying:
“Squerciati sings beautifully and has perfect timing; her vocal impression is as dead-on as her wig, and she holds just enough back to suggest the turmoil roiling beneath her bubbly surface. Unfortunately, writer-director Sloan lets his fandom obscure the story…and his sketchy script lacks narrative focus. Too rickety a vehicle for Squerciati’s talent and charm, Just in Time conveys perhaps too well the plight of an artist, with all her contradictions, undermined by mediocrity around her.” TimeOut NY (3 Stars)
“This show, with this cast and crew, deserves (at the very least) an off-Broadway run…I feel fortunate to have seen it and hope as many others as possible get the same chance” NYTheatre
“Sloan’s script can be hamhanded at times, and oddly full of blindspots…but the performers make the show work.” NYpress
“Here’s why theater festivals can be fun: There is a small, intimate play at the SoHo Playhouse…It has no scenery, scant props and four actors — and it’s a winner. Just in Time: The Judy Halliday Story deserves a bigger stage and longer run. In 88 entertaining, heartfelt minutes, audiences fall in love with its cast, particularly its lead, Marina Squerciati, who beautifully captures the funny, sad and extraordinarily American story of Judith Tuvim” The Huffington Post
though Marina Squerciati is positively eerie in her impersonation, of both Holliday’s dumb-blonde persona and the highly intelligent woman underneath, Sloan’s writing never allows her to expand into three dimensions…Ultimately…this 90-minute show has even less substance than the average 60-minute “Biography” episode. Backstage
“a fast-paced journey through the life of this talented and not-at-all-dumb blonde who died too young…Holliday’s character is never given space to expand and the story does not promote any layered knowledge about the actress and singer who really wanted to be a writer and director…Basically, this show offers just a hint of Judy Holliday’s short, fascinating life but it does serve as an appealing introduction to those who didn’t know her.” CurtainUp
“reinforces a lot of familiar ideas, but stops well short of genuine insight or entertainment.” Talkin’ Broadway
Sloan finds clever ways to spark the bio-drama form. Not all of the devices in Sloan’s play, which features several tunes penned by Holliday herself, are completely successful, but the piece’s lapses rarely matter thanks to Marina Squerciati’s winning and often quite convincing performance in the title role. TheaterMania
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
Sex, trust, family dysfunction, and noodles are just a few of themes covered in this funny and moving coming-of-age tale about a young woman’s struggle to find her own place while growing up in America as the daughter of an overbearing Taiwanese mother. This darkly comedic solo show caught the eye of Variety Magazine and the Hollywood Reporter in its 2002 premiere at the HBO Aspen/U.S. Comedy Arts festival, earning Krusiec a slot on the Hollywood Reporter’s coveted list of top ten rising performers in Hollywood.
What The Critics Are Saying:
“Made in Taiwan having previously been workshopped and presented at other festivals and venues, Michelle Krusiec gives an appropriately relaxed but sharp performance here at FringeNYC. This piece is a wonderful showcase for her immense skills, especially in some of the dance and movement elements…Along with her director Andy Belser, Krusiec reminds us that no matter how many times you think you may know the story, a performer who lays it all out on the stage makes the story sound new and specific to your ears.” NYTheatre
Winner of the FringeNYC Award for Excellence in Playwriting – Harrison David Rivers Winner of the FringeNYC Award for Excellence in Performance – Rory Limpede
A humane and multifaceted work about a midwest high school student coming to terms with his sexuality who finds refuge in, and draws inspiration from, a stolen copy of Angels in America.
Despite a number of solid performances (most notably Tamela Aldridge), the muddled script and overwrought lead (Jon-Michael Reese) prevent it from ever fully taking flight or even approaching the hem of the hallowed work it overtly apes.
Even so, there are still a few moments of authenticity, humor, and lyricism to be enjoyed, especially for those unspoiled by a familiarity with Kushner’s masterpiece. With a bit more flight training and confidence in his own voice fledgling playwright Harrison David Rivers may yet reach loftier heights.
Reviews – What The Critics Are Saying:
“If you think there’s no fresh way left to tell a gay coming-out tale, then you haven’t seen Harrison David Rivers’ exhilarating new play… This was the last of 14 shows I’ve reviewed in the Fringe this year. It couldn’t have possibly ended on a higher, more thrilling note.” Backstage
“a loving homage to Tony Kushner’s epic Angels in America. Rivers intentionally mimics Kushner in both language and style, yet still manages to tell his own story, which is brought to life here by an ensemble that includes several stand-out performances.” TheaterMania
“emotions are dealt with seriously, and Mr. Rivers’s incorporation of fantasy elevates the mundane to the ethereal. Tamela Aldridge and Karen Pittman give meaty performances as mothers whose emotions span the gamut, from frustrated to enraged to proud to relieved.” Wall Street Journal
“If hope is the thing with feathers, as Dickinson wrote, then When Last We Flew is undeniably fledgling. Harrison David Rivers’s ambitious drama vibrates with potential…Rivers’s thoughtful and sensitive play is well worth catching” TimeOut NY (4 Stars)
As a frequent theatregoer, nothing excites me more than discovering a great new author or a great new play. To discover it at random amongst 196 other shows is even better…Colette Robert’s production and Rivers’ script are by far some of the most polished I’ve ever seen at FringeNYC. Rivers has a great ear for dialogue and a helluva lot to say about being true to who you are, activism, and race…When Last We Flew is a show that just needs to be seen.” NYTheatre
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)
“David, who wrote the script as well, has created and brought to life full human beings who will make you laugh out loud at the same time your heart aches for them. Please go see this fabulous show!” NYTheatre.com
“David doesn’t shy away from shtick, packing every moment with one-liners and observational quips. That said, “South Pathetic” would benefit from a bit of editing and focus. Still, David’s uproarious final abridged enactment of Williams’ play firmly keeps this “Streetcar” from jumping the rails.” Backstage (Critic’s Pick)
“Aumiller’s staging maintains suspense throughout, and the two actors give fine enough performances (Tanner Cohen plays the playfully bitchy Jimmie opposite Andy Ridings’s high-strung Mitchell). But the situation and the characters never really felt compelling.” NYTheatre
“Writer-director Tim Aumiller’s bare-bones staging of his play “Over and Over” is only partly successful. The story of Jimmie (Tanner Cohen) and Mitchell (Andy Ridings), two clandestine lovers who meet to argue about their tortured eight-year relationship and Mitchell’s girlfriend, the play manages to avoid the usual pitfalls of gay theater. Sure, Jimmie spends almost the entire play in his underwear, and Mitchell is angry and repressed, but Aumiller finds new shadings to their stories, notably in a monologue from Mitchell about a self-destructive night out.
Where the show fails is in its depiction of languorous soap-opera star Jimmie, both in Aumiller’s writing and Cohen’s performance. Delivering every line for the show’s 70 minutes in a languidly bitchy drawl, Cohen stops being amusing and instead turns monotonous. Mitchell bares his secrets, but Jimmie’s sole response is to dash off a quip. Too bad his one-liners aren’t as interesting as Aumiller’s plot.” Backstage
