“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
“Werse constructs an intricate plot revolving around a boy-scout policeman corrupted by a beautiful widow. The cynicism-laden dialogue is spoken with the right snap by the four-person cast…Along with director Marc Geller, they take the material as seriously as a handgun pointed in their faces. Daniel Dungan’s lighting, Jack Kennedy’s sound, and Ashley Rose Horton’s costumes create the appropriate dark and dangerous atmosphere.” Backstage (Critic’s Pick)
“The requirements for tales of hard-boiled 1940s movie detectives are so clearly delineated that Stan Werse can trim the number of participants to four and still file a delightfully nasty version in Noir, at the Connelly Theater. As might be expected, the work’s tone is deep-dyed-cynical and morality is up for grabs.
Audience members who’ve watched such films as The Maltese Falcon or Out of the Past…will think they’ve figured this one out. The beauty part is they may decipher some of it but not all.” TheaterMania
“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
“Playwright Cory Conley displays a bracingly original voice in his new comedy-drama “The More Loving One,” about two 20-something couples, one straight and one gay, who have each been together for about four years. Acutely observed, inventively structured, and acted impeccably under the nuanced direction of Craig Baldwin, the show is, in a word, terrific.” Backstage (Critic’s Pick)
Remaining Performance Schedule:
VENUE #8: The First Floor Theatre @ LA MAMA
Sun 21 @ 4
Mon 22 @ 8
Sun 28 @ NOON
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
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 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 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)
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)
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
Not the satire that some had hoped for given the eponymous subject, but rather a nuanced and thoughtfully imagined window into the serious decision making which would ultimately lead to the Tea Party Queen’s rise to royalty. If a bit slow to recommend without reservation, this solid production still qualifies as a must-see for political wonks, or any that can confess to watching C-Span for longer than a few minutes at a time.
“Padilla — who also directed his able cast with an abler hand than many playwrights apply to their handiwork — achieves a convincing you-are-there quality. He also fires several effective zingers as well as many declarative remarks that get onlookers laughing knowingly.” TheaterMania.com
“In a time when news gets stale within hours instead of days, theatre that makes us focus on recent events with intelligence and clarity is certainly welcome. FringeNYC is off to an intriguing start.” Martin Denton for NYTheatre
“The arguments are well constructed and surprisingly nuanced, if not delivered at the pace of ‘The West Wing.’” Wall Street Journal
A Toronto Fringe darling, what this show may lack in cutting-edginess it makes up for with great performances and charm. If descriptions like ‘endearing’ and ‘gentle wit’ speak to your theatrical compass, then you’ll likely find your time with this show well spent.
“Though the story is slight and sometimes a bit predictable, the talents of the terrific cast make “The Swearing Jar” a pleasure to see.” Backstage (Critic’s Pick)
“at five dollars a pop, the ‘colorful’ adjectives necessary to describe how good The Swearing Jar is would bankrupt anyone short of Donald Trump.” TalkinBroadway
“an endearing quality that overcomes the out-of-joint quality of the timeline and plot. Equally enjoyable are the numerous songs with which the show is peppered…This is not the easiest play for an audience, but it’s well worth staying with it.” Curtain Up
“One of the singular thrills of a theater festival like FringeNYC is discovering a beautiful gem of a show utterly worthy of a bigger budget and a full production. Such is the case with the wonderfully written and acted ‘The Swearing Jar’ at the Connelly Theater. Billed as a ‘comedy’, it is actually much more; a moving and unpredictable play with several pretty songs performed by the cast.” An Arts Angle
Dostoevsky isn’t for everyone, but if you’re a fan, are seeking a worthwhile introduction, or just a lover of literate social satire in general, this thought-provoking, and well represented production delivers.
“nails everything I have always enjoyed about the works of Dostoevsky. Their ‘modern retelling’…succeeds marvelously in portraying the passionate, yearning, and often mad world Dostoevsky’s work attempts to understand—Jeff Tabnick’s excellent script even nails the occasionally bizarre and surreal narrative voice with which Dostoevsky tells his stories.” NYTheatre
“For a lively, literary discussion of relevant issues with a period-bending twist, An Idiot is a safe bet with considerable rewards.” musicOMH
“Satire doesn’t get much better than ‘An Idiot,’ and theatergoers should not miss it.” Neighborhood NYC
This year there have been a number of excellent narrative documentaries where the stage plays host to professionals acting, while the stories and text are taken straight from real life. None though, are as brutally affecting or gut-wrenchingly poignant as this one.
“Incarnated by a cast of Bollywood actors, this multi-media show is so real, it leaves you shell-shocked and burnt.” CurtainUp
“I’m standing at the end of the performance, part of this beautiful community of strangers, and Palat, tears in her eyes, tells us that they have come all the way from Mumbai because they want to prove the we can be the change, that one voice does make a difference. That’s why you need to see this show.” NYTheatre
“captivating, emotionally brutal…briskly paced and moving, her powerful work leaves the audience chilled, tearful and rapt.” TimeOut NY
Eight actors from the same seasoned classical theater company that brought last year’s Midsummer delight, tackle 21 roles in one of The Bard’s most beloved plays. Add cross-gender casting and you’ve got a sure-fire Fringe delight.
“Amid over-produced, over-conceived and over-long interpretations of Shakespeare’s plays, this production of “As You Like It” stands out for its simplicity and clarity.” Wall Street Journal
“a worthy group who throw themselves into their work and play. May they have many productions ahead of them!” NYTheatre.com
“The cast of eight talented, appealing young actors efficiently and effectively tells this comic romantic tale with little more than a few costumes and BAMA’s signature trunk as visual details.” An Arts Angle
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