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Covering the 13th Annual FringeNYC, Which Ran August 14th-30th;
and the FringeNYC Encore Series, Which Ran September 10th-27th
This Page Was Most Recently Updated: Monday, September 28th 2009
(76 shows rated & ranked, 29 shows reviewed)
Copyright © 2009 Hy Bender
Email: hy@hyreviews.com
Please click the links below to jump directly to what you're after:
Best Video Promos & Sneak Peeks
Notable FringeNYC Comedy Shows
Shows That Sold Out Performances
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Other Sites:
FringeNYC 2009 Coverage, Page 1
I assign all reviewed shows one to four stars, using the following rating system:
**** = Transcendently Great
*** = Solid & Worth Seeing
** = Unless Your Relatives Are in the Cast, Think Twice
* = "I Wanted to Kill Myself"
Each review includes a show's Web site address and a representative photo. Clicking the address will open a new browser window taking you to the show's official site. Clicking the photo will open a new browser window taking you to the show's listing on the FringeNYC site. You can use the latter to read the official description of the show, and see when and where it was playing during the festival.
Please keep in mind these reviews had to be written in a hurry. If you spot any factual errors, please don't hesitate to let me know by emailing hy@hyreviews.com. I'm always happy to make corrections and updates.
16. Spitting in the Face of the Devil
Rating: *** |
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Bob Brader grew up with a loving mother, but a father so monstrous in behavior that Brader came to think of him as "The Devil." And whenever Brader did something to make himself proud, he considered it spitting in The Devil's face.
Here's an excerpt from early in Brader's one-man show, about how his early problems with bed-wetting led to his father attempting an unusual "cure:"
His morning ritual for the next two years would be to get up at 5:30, come into my room to see if I was wet—leaving the light off so as to make sure not to wake me—shower, shave, and get dressed.
And if I was wet, he'd then come back into my room, take off his belt and fold it in half, turn on my light—and proceed to wake me by smacking me on the lower back, ass, and lower leg.
He'd hold me down by placing his hand on the back of my neck, forcing my head into the pillow.
He would yell, telling me how lazy I am, and asking me if I enjoyed sleeping in piss.
And then he would leave for work.
The show can be tough going, as it covers a lot of such behavior—and worse—over the course of an hour and a half.
It avoids being a mere litany of cruel acts, however, by Brader confessing near the end that he finds himself doing inexplicably terrible things too. While Brader doesn't state it explicitly, the show implies the real "'Devil" isn't his father, but the destructive and self-destructive feelings that are internalized and passed down from generation to generation in a tragic unbroken chain of evil.
The show is currently a bit too one-note, and would benefit enormously from more nuanced scenes, and a richer blend of normal life and transcendent bliss mixed with the dysfunctional ugliness.
For example, one of my favorite scenes has nothing to do with Brader's dad, but with battling another type of demon; to watch a video version, please click here. Unfortunately, it comes near the very end, and actually sticks out for being so different in tone—specifically, more metaphorical, funnier, and more fun—than the approach used for the bulk of the storytelling.
In addition, it's not very dramatically effective for Brader to perform the entire show just sitting behind a wooden desk.
These criticisms aside, though, the show is very solid, and so is Brader. If you're interested in the unspeakable things parents can do to their children—as well as how societal intolerance can twist a soul—this is worth catching.
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Rating: *** |
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This is the sort of solo show best mounted late at night by a campfire.
Brian Watkins gives a marvelous performance as guy who acts before thinking, and then reaps the consequences...via a lesson from something supernatural.
The writing starts out very strong. Here's a sample:
This town's name is a goddamn acronym: Ault. Stands for A Unique Little Town. I wish I was shitting you, but it's true, swear to god, look it up. (I did; please click here.—Hy)
I'll tell you how they came to that name too, because every time I think about it, I can't help laughing a little at those dumb shits.
The founders were two guys—Germans or some shit—out exploring in the 1800s for a newspaper millionaire who needed a plot of land for irrigation experiments. So they stop here—no river, no trees, nuthin', just the wind-swept brown ass prairie. They stop here. Irrigation, here we go.
One jerkoff hops off his horse and says, "My, this is a unique little town." And the other jerkoff hops off and says, "Why yes, this is a unique little town."
"Well, I'm glad we agree on this."
"So am I."
"Hey, that should be the town's name. A Unique Little Town."
So they unpacked their shit and settled in. And they must have gotten tired of calling the town A Unique Little Town because it was such a long name, so one of the jerkoffs said, "Hey, maybe we should shorten our town's name." And the other jerkoff went, "Yes, I agree. I'm winded."
"How about we call it A-u-l-t?"
"Yes, that's a great idea. Let's have our town name be a fucking acronym."
But you can't just show up at some empty piece of land and call it a town. It's an empty piece of land. So that just goes to show these people were even more screwed up than you'd think, because they didn't know what a fucking town is. Christ.
The folks at the Visitor's Center tell this story a little different. But here's the gist:
Two assholes ride up with a bad idea and make camp.
Any town built up off that is bound for Hell.
Watkins goes on to spin a yarn about a man and his brother, and how their rivalry turns to sorrow.
Every aspect of this is interesting; and ironically, the production loses energy only when it veers away from it and plunges into the "high concept," which is the ghost story. I would've preferred losing the supernatural angle and having the tale end with a genuine and satisfying resolution between the brothers.
The relatively weak ending aside, though, this is a show masterfully performed, and for the most part written with great skill. Brian Watkins deserves your attention.
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Rating: *** |
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A few hours before Thanksgiving, a number of flights are canceled, forcing two strangers to sit together in a crowded airport. And while the woman wants to be left along, the man starts talking. This 50-minute dramatic play is the conversation that ensues...and the life stories that come out, in spurts, from both of them.
Actors Brandy Burre and Todd Lawson are total pros—Burre's famous for playing Theresa D'Agostino on HBO's The Wire, and Lawson's worked on Broadway—and watching their thoughtful, nuanced performances is pure joy.
Credit also goes to the production's writer and director, Tim Aumiller, who creates a simple space for these two ferocious talents to work their magic; and whose dialogue is mostly smart and tight.
However, the more we learn about the characters, the more arbitrary the information feels. Despite Aumiller's efforts, the "secrets" that emerge come across as plot points rather than organic elements of a story.
Frankly, the dynamic between Burr and Lawson as brilliant actors is far more interesting than anything Aumiller gives them to say; and in the end, the tale told isn't very satisfying.
Burre and Lawson do so much with the material, though, that they create an experience worth having. If you want to see what acting is all about, this production features two of the finest performances at the festival.
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Rating: *** |
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As with another show taking a campy approach last year, The Fabulous Kane Sisters in Box Office Poison, the key appeal of this production can be summed up in one word: drag.
And the main lesson of both of these enormously popular festival shows is that comedic drag, when performed superbly, sells at the Fringe.
The men-as-women performances are very well-done, from such talents as Everett Quinton (of the acclaimed Ridiculous Theatrical Company), Paul Pecorino, and Andy Halliday
There are also a few inventive low-budget special effects, such as representing a plane flying in the rain via a toy jet, a fan, and strips of tinfoil; and a simultaneously cute and grotesque baby alien you may find difficult to get out of your head.
In addition, the show features sporadic fun dialogue. For example:
New Yorker staying at motel in the sticks: I shall expect hot coffee and scones at 7:00 am.
Motel Owner: Why sure, honey. And I shall expect Rock Hudson to eat my bald pussy at 10.
and, from a hard-boiled newspaper man in this tale set in the mid-50s:
Editor: I'm gonna level with you. The newspaper business is on the skids. Mergers, competition from newsreels, radio, and now TV—it's a rat race. Attention spans are shorter. Nobody's got the time anymore to relax with the evening paper. By the end of 1956, New York City may have only seven dailies left.
Most of the script is mundane, though, riddled with cliche characters, lazy jokes, and plodding plot threads. If you're seeking genuine science fiction, quality storytelling, or consistently witty writing, look elsewhere.
That said, the performances are apparently enough for many people—for example, Time Out New York rated the show five stars out of five.
If you enjoy sharp camp acting in drag, Quinton, Pecorino, and Halliday deliver.
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Rating: **½ |
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Powerhouse refers to a famous assembly-line music piece created by Raymond Scott (above), a quirky composer and inventor whose work can frequently be heard in such classic cartoons as Looney Tunes (Bugs Bunny, Daffy Duck), Ren & Stimpy, and The Simpsons. Scott's fertile mind and wild ideas definitely merit a bio-show, so kudos go to Sinking Ship Productions (which last year gave FringeNYC the superb There Will Come Soft Rains) for choice of subject.
And if I was rating on effort, the show would get four stars. It's evident that an enormous amount of time, energy, and love were poured into this production. From the lively jazz songs that play throughout, to the joyful dance numbers, to the numerous gadgets, to the puppet performances, there's a clear drive to fill every minute with something new and interesting.
The problem is that amidst all the energy, there's little of depth and human emotion to anchor us to the central character. I assume the concept was to employ Scott's "assembly-line" style and frenetic pace of cartoons as storytelling techniques. But the tale is more of a whirlwind tour of the highlights of Scott's life than a meaningful journey. So while I admired the awesome amount of work that went into this show—and, for the matter, the talent of the fine cast—I could never get myself to care about what was happening.
That said, I appreciate the attempt to do something new. And if you're not the stickler for story that I am, you might greatly enjoy all the other creative elements of Powerhouse.
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Rating: **½ |
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This show doesn't offer top-notch writing, or direction, or set design, or even acting—aside from Laura Lamberti (above, in the forefront), who plays the lead Jospehina Terranova.
And yet, it has a raw quality that often makes it compelling...and haunting.
It's based on the true-life story of a Sicilian girl effectively sold into slavery to a sadistic uncle and aunt who work her mercilessly from dawn to dusk..and, when she gets older, also sexually abuse her. It's also about how utterly cold and cruel everyone she should be able to rely on in her family turns out to be, valuing reputation over decency, and money over love. And about how the American who comes to her rescue—the legendary William Randolph Heart—is a subtler form of predator.
The facts of this 1906 tale are fascinating—and, frankly, deserve a better dramatic treatment than this production.
But what works is Lamberti's emotional performance as a simultaneously looney and wise young woman who somehow manages to take care of herself while on trial for the murder of her aunt and uncle...even as the duo hover behind her and talk poison as the ghostly reminders of her crime.
So while the show is rocky overall—and has a terribly unsatisfying conclusion that feels more like an abrupt stop than an ending—if you opt to see it, you'll nonetheless have a memorable experience of naked brutality and insane courage.
22. Mom: A Rock Concert Musical
facebook.com/group.php?gid=65426781220
Rating: **½ |
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This is one of the oddest shows in the festival.
It has the form of a rock concert...except after every few songs, it skips ahead several years in the fashion of a documentary, and then pretends to be a concert in another period of the band's career.
That might be interesting if it was reliving the history of a group anyone cared about. However, this band is utterly fictional—a collection of mothers we're supposed to root for because they abandon their families to play so-so rock songs.
As one of the characters says—while my jaw hung open—"There are 50,000 bands better than we are." No argument. Especially considering the script and the song lyrics—written by a man, who also composed the music and directed the show—are mostly cliche nonsense.
No blame attaches to the actresses/musicians, who are troopers. At the performance I attended, there were only around 20 people in the audience; and after intermission, half that number. But this gal band played as if it was rockin' a full house. My kudos go to Stefanie Seskin, Donna Jean Fogel; Bekka Lindstrom, Dana McCoy, and Jane Keitel, each of whom demonstrates considerable talent. And every now and then, there are harmonic periods when the group can do no wrong.
Unfortunately, roughly 20 good minutes out of two hours is simply not enough reason to see this.
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muffinmanthemusical.blogspot.com
Rating: **½ |
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At the performance of Muffin Man I attended, my ticket was taken by a young woman highly enthusiastic about the show. She turned out to be Camille Harris, its writer and director. I know this because Harris soon popped up in front of the stage to tell the audience, "Hi guys! I just want to say thank you so much for coming. I'm so pumped we're in the Encore Series! I couldn't believe it, it's really exciting! Anyway, I think it's way cute, and I hope that you love it and go mmm...that it's the best! So I just want to say: Muffin Man!! Go Muffin Man!! So thanks! Yeah!!! Yeah!!!!"
Harris' energy was adorable. Unfortunately, her intro was the most exciting part of the production.
Let me put it this way. Around 2000, Jon Stewart interviewed Keri Russell while she starred in the WB hit series Felicity and summed up the show as follows: "Oh no! I can have my coffee with half and half or with skim. How will I choose?!?"
Muffin Man makes Felicity seem like Hamlet.
The musical is about a young woman who gets a job at a coffee shop, and on her first day discovers the guy supplying muffins to the place is her childhood love. She's not conflicted; she's in love with him. No good reason is given for why the two drifted apart, nor is there any indication that he doesn't have similar feelings that will sooner or later become evident. In other words, there's zero internal or external conflict. But while we're waiting for these two cuties to admit they love each other, various folks come into the shop and find excuses to sing songs. And that's essentially the show.
It's a sweet production. And it's not bad for what it tries to be. It just doesn't aim very high; and there's no aspect that's truly exceptional.
But if you'd like to spend an hour with young college performers in a cute story singing cute songs, you could do a lot worse than Muffin Man.
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Rating: **½ |
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There's an inherent magic to dolls coming to life. This has been proved by wonderful children's classics ranging from 1934's Babes in Toyland to 1940's Pinocchio to 1995's Toy Story. (Not to mention horror tales such as 1945's unforgettable Dead of Night, 1975's TV movie Trilogy of Terror, or the Chucky franchise starting with 1988's Child's Play...)
I was therefore eager to experience what writer/performer Michael Phillis' one-man show had to add to this resonant fantasy sub-genre.
But the answer, at least from my perspective, was: not a whole lot.
Phillis plays the "head doll" running a large doll collection owned by a young gay man. Most of the show involves this doll giving instructions about doll life to newcomers post-Christmas.
It's a cute idea, and Phillis has some fun with it by creating doll hierarchies based on which shelf in the collection a doll resides, and dividing dolls into well-made ones who can talk and cheaply produced models called "inarticulates."
There's no actual story, though, just a collection of ideas. And within the tradition of previous genius tales of dolls coming to life, I didn't find the concepts in this show sufficiently compelling.
The best part of the production is Phillis' performance. Phillis is a cast member of the very best show at this year's festival, Abraham Lincoln's Big Gay Dance Party, and his skill and energy are evident in Dolls as well.
That said, my main suggestion to Phillis is to work with a co-writer or tough editor to ensure the scripts of his own shows do justice to his gifts as an actor.
25. Willy Nilly: A Musical Exploitation of the Most Far-Out Cult Murders of the Psychedelic Era
Rating: **½ |
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Anyone who sees as many FringeNYC shows as I have (around 600, and counting) is pretty broad-minded. So despite obvious challenges to good taste, I had no automatic objection to a musical about murderous cult leader Charles Manson and his pack of crazed followers.
However, for a production like this to work, it has to have a strong point of view and be disciplined about executing it.
In contrast, the script for Willy Nilly is sloppy, meandering, and seemingly pointless, providing assorted mockumentary "highlights" of Manson's journey to prison with no genuine wit or understanding. It also inexplicably fails to use real names (e.g., Manson is "Willy")—are the producers afraid Manson will sue?
There are laughs here and there. But the story mostly ranges from dumb to dull; runs for two hours with no intermission; and towards the end portrays the brutal slaying of a pregnant Sharon Tate in a way I found unforgivably offensive.
The main charms of this musical are the colorful, outrageous 60s costumes by Julianne Kroboth; the superb band, consisting of Derek Davidson, Oweinama Biu, Darro “Sparkie” Sandler, and Chris Talsness; the lively choreography by Becky Byers & Jeff Lewonczyk; and the five talented actresses in the killer harem. Especially notable from the latter are the charismatic and delightful Becky Byers (bottom right in the photo above, and the co-creator of the aforementioned choreography); and the energetic Elizabeth Hope Williams (top right in the photo above), who plays a sexy stripper and tends to steal the limelight in the dance numbers.
One other outstanding cast member is Daryl Lathan, who has the unenviable job of playing every African-American bit part in the show. Proving the adage "there's no such thing as a small role," Lathan lights up the stage whenever he appears, providing an intelligence and comedic crispness to badly-written scenes entirely via his acting choices.
I simply wish all these talents were involved with a way better show.
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Rating: ** |
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Paul Thomas is a comic from Chicago, which is home to one of the most vibrant comedy communities in the world. I greatly admire some of Thomas' short film work; for example, I consider his dark piece about a stand-up honing his craft to be brilliant (to view it, please click here); and his bit about a grammatically precise record producer is hilarious (to watch it, please click here, and note the rapper is played by Hannibal Buress, who trained in Chicago but is now a rising star in NYC...and just a week before the festival performed a great set on Late Night with Jimmy Fallon).
I therefore had high hopes for Comedogenic, scheduling it to be my very first show of the festival.
Sigh.
Thomas performs around a dozen scenes, each portraying a different passive loser character or strident loser character he presumably finds interesting.
To my ear, though, there were few genuine laughs, so it didn't work well as comedy.
And the monologues were too superficial to carry weight as drama.
So the show was kind of a mess that can best be described as awkward.
Thomas is smart, talented, and likeable.
But either he didn't bother testing out his bits in front of audiences before this show; or he hasn't yet developed an objective ear for what does and doesn't work based on an audience's reaction.
I still enormously admire Thomas' finest short films, and he's well worth keeping an eye on.
But this production simply doesn't show Thomas off at his best.
Post-Review Note: After chatting with several folks, I suspect this show got better with subsequent performances. I can't write about what I didn't see, though; and frankly, it's a performer's job to ensure his first show is as perfect as possible, because that's the one most reviewers will attend. All I can do is emphasize Thomas is smart and talented, and—with more discipline—has great potential
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Rating: ** |
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This moody play starts out with a great deal of promise via recurring themes of wolves, albino monarch butterflies, death, and new life. It also features a terrific cast.
Unfortunately, the drama moves with the speed of molasses, making 90 minutes feel like days. And the melodramatic music that signals the end of each short scene comes across as pretentious—essentially sound and fury, signifying nothing.
Poetic recurring images are wonderful tools. But butterflies by themselves are no substitute for a fully developed story.
28. Ones by 2: Fallujah, and The Invention of Zero
Rating: *½ |
Shining young actors Kevin Tyler and Sophia Babun |
One of last year's most unexpected and delightful FringeNYC hits was Keep Your Eyes Open—a show that was both written and performed by 11-year-old girls.
The show worked in part because the girls were both individually and collectively amazing; but also because the adults involved managed to tap the unique perspective, energy, and enthusiasm of 11-year-olds, which resulted in something substantially different from, and in some ways more magical than, what we're used to from adults.
In contrast, Ones by 2 was written and performed by Westport, CT students aged 16-17; and instead of exploring their special teen perspective, it has them attempting to write like adults, and—most jaw-dropping—perform as adults (without any makeup or other aids—we're simply supposed to believe one teen is another teen's mother, even though they all look and dress the same age...). The way to show respect for the scripts would've been for the class' teacher to cast age-appropriate actors in the roles. Instead, the result is precisely what you'd expect: a somewhat interesting but also limiting exercise for the kids...and a rather uncomfortable fit for a professional theatre festival.
That said, both of the female writers demonstrate wit, and show promise.
And while all the performers are lovely, shining lights, Sophia Babun (above right) is particularly outstanding. If you have a role for a teen actress, Babun is a natural, and worth considering.
29. Clemenza And Tessio Are Dead
Rating: *½ |
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When a play attempts to duplicate Tom Stoppard's work of genius Rosencrantz and Guildenstern Are Dead, but instead of targeting Hamlet goes after The Godfather, the result is going to be either brilliant or dreadful.
I enter into any Fringe show with high hopes; but this wasn't brilliant.
While The Godfather is razor-sharp, is packed with fascinating characters, and offers a distinct vision, the script for Clemenza And Tessio Are Dead is dumb, has dull and poorly defined characters, and appears pointless.
And while Stoppard provided a modern twist to Shakespeare, this script adds very little to Puzo. All we get are two peripheral characters so poorly written that they're impossible to believe in, and who do little other than recount various events of The Godfather from the sidelines...for a very long 90 minutes.
Further, while both lead actors are talented, their performances fall flat—they come off more like first graders than hardened soldiers of a crime family. As you might have guessed by now, the playwright was also the director. (On top of that, he was the producer; which means there was no one to tell him "Wow, that's really not good...")
Part of me admires the sheer balls of a first-time playwright indicating he's on the level of Tom Stoppard. And the basic idea of the play is clever.
But this production fails to deliver on every level. Even the promise of the title falls short; at the end, Clemenza and Tessio aren't dead.
Simply watch The Godfather again. You'll have a much better time.
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Rating: *½ |
Jeff Berg, the best thing about Groupies |
Back in 2002, FringeNYC included a delightful one-man show titled Starfuckers that featured eight short, sharp, hilarious scenes about oddball characters obsessed by celebrities.
Based on its title, I'd hoped Groupies would provide a similar joyful experience.
Instead—to my semi-horror—I found it consisted of three melodramatic, rambling monologues that last around 20 minutes each but seem to go on forever. Further, the script sheds no light on celebrity worship; the "groupies" concept feels like something tacked on after the fact to give the show a commercial hook. Which might be okay...except the writing is dreary throughout.
Sadly, the performances aren't much better. I'm not inclined to blame the actors, though, considering the direction is almost breathtaking in its lack of imagination. For example, in the first monologue an actor spends the entire 20 minutes sitting in a chair and staring into space. And in the other two, the actors spend most of their time undressing and then dressing. (Yes, that's right; the same basic action happens two scenes in a row, even though they involve entirely different monologues and actors.)
The only happy surprise for me was a brief comedic monologue at the end—as if the writer sensed the first three were punishing, and we deserved some reward for surviving them. Naturally, it's pretty bad too; but it's delivered by Jeff Berg (above), who's a terrific actor—for example, Berg was superb in FringeNYC 2006 as the lead of I Was Tom Cruise. Jeff, it was nice to see you, but please exercise better judgment when selecting productions.
There was also one electrifying moment at the performance I attended. In the first monologue, as the actor sits in his chair and drones on, he utters the line, "But I won't bore you with the details"—and then, entirely unexpectedly, breaks into a long silence. He attempts to start again, then gives up and repeats, "But I won't bore you with the details" and lapses into an even longer silence. This goes on for a full two minutes...at which point he continues on with the narrative.
It's fascinating, because after the initial dullness, we suddenly have no idea what's going on. I was sitting by myself in the first row, and—I suddenly realized—probably looked just as bored as I felt. So I was wondering if the actor was trying to shake me from the stupor.
I bumped into an actress friend afterwards who by coincidence attended the show too, and she had a more plausible theory: "It seemed to me that he'd forgotten his lines."
Whatever the cause, we both agreed it was the only interesting thing that happened during the show...because it was real, organic, and in the moment.
And served to point out the extent to which the rest of the production is not.
So skip this; but please keep an eye out for Jeff Berg in better shows.
Shows That Are Selling Out Performances
Ticket sales are reportedly strong this year.
And that's evidenced by the large number of performances that have already sold out via advance ticket sales.
Please note that selling out a single performance doesn't necessarily mean a show is hot, or vice versa.
For example, a production in a small venue might sell most of its tickets to family and friends for the debut performance but struggle for the rest of the festival.
At the same time, a production in a large venue might consistently sell lots of tickets but never fill all of its many seats. (Then again, it might; for a memorable example from a past FringeNYC, please click here.)
For that matter, a production might not attract the type of folks who buy in advance and yet frequently sell out performances via at-the-door purchases. The latter aren't reported by FringeCentral and so can't be tracked here (though I can say from personal observation, many shows are selling out at the door—even ones at large venues such as The Connelly Theatre, HERE Mainstage, and The Minetta Lane Theatre).
That said...it's always nice to sell out a performance in advance.
Please also note that the hottest shows are likely to receive an added performance or two via the festival, or extended runs via the FringeNYC Encore Series in September. For news on both fronts, please stay tuned to this site. For complete info on added performances, please click here.
The following shows have sold out via advance tickets sales for the performances noted, with upcoming dates & times in boldface:
Shows That Received Added Performances
FringeNYC keeps an eye out for shows that become highly popular and sell out performances, and provides a select few with additional performances.
In 2009, only one show received an added performance as a result of demand (as opposed to making up for a canceled performance):
Abraham Lincoln's Big Gay Dance Party was the runaway hit of the festival. The only reason it's not in the FringeNYC Encore Series is that most of its San Francisco-based cast had commitments for other shows starting immediately after the run. Providing the added performance allowed more people to see this wonderful production before it had to close down—for now. But no show in the festival is more likely to result in an eventual commercial version than this one.
The following shows have canceled performances:
At the traditional closing night party of the festival—which this year took place at the spectacular Gramercy Theater on Sunday, August 30th—FringeNYC Producing Artistic Director Elena K. Holy presented the winners of the FringeNYC 2009 Overall Excellence Awards. They were selected based on the votes of around 50 judges who, between them, saw every show at the festival.
Every year I strongly agree with some awards, enormously disagree with others, and am disappointed certain shows didn't receive the recognition they deserve. This year the latter include Dominate Yourself!, A Time to Dance, His Greatness, Tales From the Tunnel, and Complete. However, His Greatness, Tales From the Tunnel, and Complete received extended runs via the FringeNYC Encore Series, which is an equally fine honor.
Please note that multiple awards were given in most of the categories, so every show listed below is a FringeNYC Overall Excellence Award winner. Within each category, the winners are listed in alphabetical order. If a show is underlined, you can click it to pop up my review—and more reviews will be appearing over the next few weeks.
Outstanding Unique Theatrical Event (3 winners)
Bulltetrun (a free outdoor dance show)
666
Outstanding Solo Show (7 winners)
The Adventures of Alvin Sputnik: Deep Sea Explorer (Tim Watts)
Art's Heart (Anthony Johnston)
Jesus Ride (Mike Schlitt)
The Event (John Clancy writer/director, Matt Oberg actor)
Remission (Kirk Wood Bromley)
The Songs of Robert (John Crutchfield)
Truth Values: One Girl's Romp Through MIT's Male Math Maze (Gioia De Cari)
Outstanding Play (3 winners)
Abraham Lincoln's Big Gay Dance Party
Outstanding Musical (2 winners)
Citizen Ruth
Outstanding Playwriting (3 winners)
Mary Adkins for The 49 Project
Jason Schafer for Notes on the Land of Earthquake & Fire
Laura Schellhardt for The K of D, an Urban Legend
Outstanding Actor (5 winners)
Ken Barnett in La Ronde
Colin DePaula (who's 9 years old) in Mutti's After Supper Stories
Ethan Downing in Confirmation
Autumn Hurlbert in A Contemporary American's Guide to a Successful Marriage © 1959
Alyson Weaver in La Ronde
Outstanding Ensemble (4 winners)
Bargains & Blood: How To Succeed In Home Shopping!
Ether Steeds
Two on the Aisle, Three in a Van
Outstanding Direction (4 winners)
Jeremy Dobrish for Dancing with Abandon
Patrick McNulty for Harold Pinter Pair
Bill Oliver for A History of Cobbling
Ben West for How Now, Dow Jones
Outstanding Choreography (2 winners)
Patricia Noworol for Circuits
Jody Oberfelder for 38 Witnessed Her Death, I Witnessed Her Love...(Kitty Genovese Story)
Outstanding Costume Design (1 winner)
Lisa Zinni for A Contemporary American's Guide to a Successful Marriage © 1959
(Zinni created the stupendous costumes for last year's #1 FringeNYC show, China: The Whole Enchilada)
Also worth noting is the annual FringeNYC Audience Choice Award, which goes to the show garnering the most audience ballets (included in each production's program booklet). The winner this year is Singin' Wid a Sword In Ma Han'.
This year's FringeNYC festival concluded on August 30th, but that's not the end of a number of its shows.
There were quite a few productions worthy of going on to commercial runs, and it's a sure bet at least some of them will.
And more immediately, a whopping 20 FringeNYC shows were extended to run September 10th-27th, with the performances taking place at the West Village's Actors Playhouse and Soho Playhouse.
I've seen all 20 of the shows enjoying additional performances. They are, in rough order of personal preference:
A Contemporary American's Guide to a Successful Marriage © 1959 ***½
Jesus Ride ***½
Notes on the Land of Earthquake & Fire ***½
His Greatness ***½Singin' Wid a Sword In Ma Han' ***½
Tales From The Tunnel ***
Complete ***
Zipperface!!?!: The Hobo Musical ***The K of D, an Urban Legend ***
The Boys Upstairs ***
Viral ***
Sex and the Holy Land ***
Devil Boys From Beyond ***
Powerhouse **½
Terranova **½
And Sophie Came Too **½
Mom: A Rock Concert Musical **½
Muffin Man **½
Dolls **½
Willy Nilly: A Musical Exploitation of the Most Far-Out Cult Murders of the Psychedelic Era **½
If I've reviewed a listed show, you can click its underlined title to pop up my critique. You can also check where a show is placed on my list of rated & ranked shows of the entire FringeNYC Festival by clicking here.
Please note that one of the shows originally scheduled for the Encore Series, I Can Has Cheezburger: The MusicLOL!, has been pulled from the schedule (don't know why). It's been replaced by this year's Audience Favorite Award winner, Singin' Wid a Sword In Ma Han'.
Tickets were $18 each at the door.
Alternatively, tickets could be purchased online for $18 plus a $3.75 service charge via Web site FringeNYC-Encores.com or by calling (866) 468-7619.
Then again, anyone who participated in a FringeNYC 2009 show or in running the festival could display their badge at the box office and be admitted to any Encore show for $10 instead of $18.
I've rated & ranked all 20 shows in the Encore Series. In addition, I've reviewed 13 of them.
For a complete list of the shows and their showtimes, please click here.
Please note that these extra performances were not organized by the folks who head FringeNYC, but by Britt Lafield and John Pinckard. To learn more, please click here.
The FringeNYC extensions are a great chance to catch shows missed during the festival; and also an opportunity to take friends to productions you saw during the festival and loved.
The primary source of information about the festival is the official Web site at FringeNYC.org. More specifically:
Opinions about fast food are way more subjective than theatre reviews. That said, if you're seeking quick nourishment before racing to your next show, here are some personal favorite eateries located in FringeNYC venue neighborhoods:
None of these stores have any idea I'm saying this, by the way (well, aside from the FringeCafe, which has offered to thank me with some choice slices of cheese). But if you're hunting for the best shows, you might as well consume the best fast food while you're at it...
Please click the links below to jump directly to what you're after:
Best Video Promos & Sneak Peeks
Notable FringeNYC Comedy Shows
Shows That Sold Out Performances
Shows That Received Added Performances
HyReviews.com Insider Freebies & Discounts
Other Sites:
FringeNYC 2009 Coverage, Page 1
Copyright © 2009 Hy Bender
Email: hy@hyreviews.com
