Sub-Total
2021 Audience Reviews
Check out some of the most prolific reviewers:
Wesley Volkenant (18) Aseem Kaul (14) Boo Segersin (13) Carl Danielson (11) Marie Cooney (11) Derek Miller (10) Logan Rodgers (8) Jason Downie (6) Mark Long (5) test Title (5)
Click on any column heading to sort reviews by Number, Rating, or Title.
Total Reviews | Average Rating | Show Title |
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"ReviewTitle": "The long and winding road",
"ReviewText": "While Mr. Dockery is certainly a talented story teller, I found this performance disappointing. The sound effects were generic and jarring, serving mostly to undermine the naturalness of the narration, and the story itself was pretty much your average potboiler, with little nuance or cleverness. Mostly, though, I felt the piece just went on too long. The same story, told in, say, forty minutes would probably have kept my attention; but by the time it got to the one hour mark with no end in sight I sat in front of my screen listening to each silly plot twist and thinking 'are we there yet?'. ",
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"ReviewTitle": "Score!",
"ReviewText": "Martin in standard top form, this time accompanied by a wonderful score that cued or paralleled the story as it progressed. Martin made good use of the \"setting\" leaning into, sitting back or gesturing close to the camera for effect. Unfortunately, it ran a bit long and the music \"track\" was so loud, it was often very challenging to hear Martin's voice and follow the tale. ",
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"Rating": "5",
"ReviewTitle": "Awesome Story Telling",
"ReviewText": "Maritn always rocks at story telling. I found it very impressive how he timed out his show to music! I don't think I've ever seen that before in a storytelling show. Super good, as always!",
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"Rating": "4.5",
"ReviewTitle": "Liar, liar, pants on fire!",
"ReviewText": "As usual, Martin led his audience on a dark and winding path. His recounting of how he became so embroiled in this horrible crime leaves you wondering, did this actually happen, or is he just a fantastic storyteller? I only wish that the sound had been stronger in some portions of his presentation, as I found myself really straining to hear what he was saying.",
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"ReviewTitle": "Dark",
"ReviewText": "Lockdown isolation has the potential to bring out the darker side of us, even Martin Dockery. I am guilty of watching many of the \"true crime\" streaming shows in my own lockdown leading to the questions: Is this an honest retelling of the events? Is this a confession? Or, is this person just telling us what we want to hear? You have the right to remain silent Mr. Dockery (but we know you won't).",
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"ReviewTitle": "Well-contained tension, doled out at a good pace",
"ReviewText": "I'm not sure where I fall on the timeline of people getting on the Martin Dockery train, but I remember the manic energy of the first show I saw him in here, which included him miming suffering a pair of tropical disease reactions you wouldn't wish to have at the same time. His next time through town, I think I saw him in another similarly kinetic show the same year he was touring a scripted drama with his partner, which seemed on par with his comedy work. So seeing him just doing straight, solo drama this year, it's been an interesting transition to seeing him bottling that energy up, and just letting a little out at a time — like it's coming out through the cracks — to build the tension of this webcam narrative. Hard recommend.",
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"Rating": "5",
"ReviewTitle": "Impulsive response sets of a chain of events",
"ReviewText": "Enthralling story of an decision spiraling into unforeseen consequences. Martin's engaging storytelling paired with musical background.",
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"Rating": "4",
"ReviewTitle": "Really Brilliant Storytelling",
"ReviewText": "I really was taken in by Martin's Story - what I could hear of it. At times the music overpowered and I was struggling to hear. I have seen much of Dockery's work and he usually tells true personal stories; I spent a lot of tme thinking \"Did this really happen?\" My guess is if it's a personal tale he took a LOT of creative license, otherwise he's be in jail! \r\nStill, really riveting storytelling!!",
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"Rating": "4.5",
"ReviewTitle": "Quite a Gripping Tale ",
"ReviewText": "Mr. Dockery is a clever and masterful storyteller. I found his tale, with the music supporting him in the telling, was interesting and compelling to the end. It DID run long, but I was invested by then, in hearing the \"rest of the story.\" A great way to wrap up this year's Fringe Festival1",
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"ReviewTitle": "A Much Needed Laugh",
"ReviewText": "The pandemic has sucked, but these sketches let me laugh at all the ridiculous stuff that's gone down over the last 18 months. Give it a watch!",
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"ReviewTitle": "Rings True",
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"ReviewTitle": "Well done! ",
"ReviewText": "I've always had a liking for one woman / one man shows, and I really enjoyed this! I felt the delivery was excellent and the way the story was told through the actor made it very easy to visualize. I almost wish it was longer! I would have loved to have seen more. It didn't feel totally rushed, but I felt like there could have been different things that could have been expanded on or things that the story could have gone more in depth with. Overall great job! ",
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"ReviewText": "Larisa Netterlund explores the echoes of an artistic mind haunted by the shadows of all they had hoped to achieve, and plagued by the cacophonous sounds of critics from without and within. \r\n\r\nAs a lone Lighting Designer (Played wonderfully by the ever-engaging Elizabeth Efteland) lingers in an empty theatre attempting to capture the elusive finishing touches of a show set to open soon, she is slowly undone by the barrage of ghosts (real or imagined?) which torment the artistic mind: the expectations and needs of aging parents, the envy of others' success, the micromanagement of authority figures and gatekeepers to professional advancement, the temptations to escape and pursue a \"better life\" elsewhere, the internal and external pressures to express one's art. All these beguilements and more slowly boil throughout the course of the brief One-Act finally erupting into a poltergeist-like encounter with these jarring questions in her soul. \r\n\r\nThrough use of light, shadow and stage craft ---along with modulations in sound and clever cell phone voicemail/text exchanges allowing for the materialization of inner conversations to manifest for the audience---Netterlund has made a most excellent beginning here. I was grateful for the opportunity to witness what feels like the formation of a much larger theme and canvas. That is what makes Fringe Theatre so essential and rewarding for both audiences and artists alike: to participate in the process of exploration and the planting of seeds. I truly hope Netterlund continues to nourish the brilliant successes begun here in this haunting, and thought-provoking piece. Don't miss it! ",
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"ReviewText": "What does it mean to be alone? Is it the state of being physically apart from others, or is it something much deeper than that--a growing sense of disconnection from those you interact with on a daily basis? Can you truly be alone when you're in communication with others? What if others--known or unknown--are in communication with you? And are we even qualified to judge our own loneliness?\r\n\r\nChannel explores all of these themes and more in a skillful, natural, and engaging immersive piece of theater. From moment one, you're not sure...has it begun yet? What role do I as an audience member play in this piece? Like a masterful Hitchcock film, you find yourself as both voyeur and victim, privy to clues the main character is not, but still at the mercy of the unstoppable and unpredictable story. This team follows in Alfred's footsteps in another way: their dedication to character. The audience forms an immediate connection with hardworking and vulnerable LD, in large part due to Elizabeth Efteland's nuanced characterization and impeccable timing. \r\n\r\nI applaud Netterlund and her team for the lasting questions they raise, with small breadcrumbs of intention and insinuation from LD's voicemails acting like snippets of glow tape, leading us to...well, where, indeed? I found myself wanting to return and watch it again, searching for clues and additional clever nuggets I'm certain the production team included that I overlooked the first time. \r\n\r\nDon't miss out on the opportunity to be challenged, spooked, and delighted by Channel.",
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"ReviewTitle": "Bravo!",
"ReviewText": "Great Fringe show and well executed all around. Some cool effects were created with very limited means, and Elizabeth Efteland never disappoints on the stage. There are some fun creepy aspects to the show, but it’s not heavy handed. The play is a reminder about how isolating life can feel sometimes and sparks reflection about how and where we find fulfillment.",
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"ReviewTitle": "Who we are when we are alone could use a hug.",
"ReviewText": "It is so rare that one gets to have a first experience twice, with the world still trying to get back on its feet and theatrical-types working to regain their center of balance due to covid lockdown a return to live theatre turns the loud inner-voice aware of the artist’s machinations down and allows the art itself to breathe and feel new. I’ve felt similar experiences while returning to restaurants and movie theaters (during the pre-delta variant times we are now taking into cautious). “Channel” reignited that original, unironic, sense of magic and wonder that comes with watching live performance. With its beautiful set design and staging the show won me over before it even started. The moody atmosphere by abstract lighting, hanging sheets, the presence of a well-endowed and chaotically painted headless manakin, soundcloud beats (which all slapped) and the lone presence of LD (played by Elizabeth Efteland) gave a quiet, yet gently immersing pre-show.\r\nWithout giving away too much of the content, thus spoiling the reason you would watch the show, the emotional arc of LD as she quietly manages the space while doing what we all do when alone, entertain ourselves by snapchatting, texting, or calling family members. The interior life we get to see of LD while alone and the myriad relationships built with others while using only an object, her phone, as an acting partner was no small feat. Watching the narratives each of these relationships tell about LD is incredibly rewarding on it’s own merit and would make for an engaging performance piece about who we are when we deal with external pressures while they are remote while present. Subconsciously, deeply resonate in our Covid-Coping-Culture.\r\nWhere its content shines, on an already shiny platter, is the layering of the presence of ghosts. Remnants of the past that hang over LD’s (and by extension of our vicarious experience, our) head. A haunted theatre in a show about the intricacies and disappointments and frustrations of our toxic hustle and clique culture than no matter how much we claim to work for inclusion, always ends up playing a part makes it feel like the past of LD, all her disappointments, are reaching out to touch her on the shoulder. What is all the more profound, with no spoilers, are the questions that they ask. You’ll have to see the show to know, and to be asked them yourself.\r\nThis being a one-person show is carried with finesse by Efteland. It is already a task to build one character in a cast. To carry an entire show as the cast is even more of one. Through quiet internal moments, lonesome emotional breakdowns, and even more impressive the nuances of mannerisms humans do to regain their composure in the face of stress was so rewarding to watch. She presents herself without pretense, nor does she ever make you fall out of believing in the show’s world. It was a privilege to be in a live and intimate space to watch her perform. Larisa Netterlund should also be commended on her work in building and synthesizing Efteland’s performance with Shannon Elliott’s incredible tech. The lighting was incredible, and as a former sound engineer assistant the mixing on the sound cues between using the phone and how it transitions between audio-source-location from object to theatre speaker choked me up in the best way as an audio-nerd (it sounds amazing).\r\nIf I am allowed a parting thought, with a tiny spoiler (so stop reading now if you are going to see it), the show being about artists who are trying to live the life they want while nature takes its course on friends and family via age, the fraught parts of any relationship whether it be personal or professional, and how much of that is shown against being kept internal is something the so deeply resonated with experiences in my life that I, along with the sound design, had to work a knot out of my throat. If returning to theatre means that I get the spice of experiencing an old thing for the first time again, I am so fortunate it was with this show.",
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"ReviewTitle": "an exploration of modern distraction",
"ReviewText": "It was an exploration of modern distractions to creating, striving, and living authentically in the modern age. Personally speaking, it invoked vulnerable feelings I maybe wasn't ready to feel, but that means the show did exactly its job. It must have taken a lot of strength and courage to create a craft of this caliber, with similar resonations as Bo Burnham's recent Netflix special, Inside, and the inherent loneliness of the modern age despite the extensive means we have to keep in touch with each other and the constant barrage of dings, rings, and chirps on our phones.",
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"ReviewTitle": "Creepy and thought provoking.",
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"ReviewTitle": "Entertaining, Honest, and Moving",
"ReviewText": "I very much enjoyed this show! It was entertainingly creepy (even for a non-horror fan like me), but even more so it felt like an honest poetic riff on the human experience. Where touching on the anxieties and the overwhelming nature of life could have felt more stress inducing, this instead felt cathartic and connecting. Beautifully done!",
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"ReviewTitle": "Creeps sake",
"ReviewText": "Gotta love the venue for this fringe performance. The exposed rafters and the elevated ceilings that makes this warehouse experience unique. I loved how I’m sitting in the show and I don’t know when it’s going to start and who the cast is. It helped that the few people in the crowd made for an intimate gathering. And once the play started all I can say is va va boom! Is the actress a dancer as well because her command of the stage and her movements made me feel as though. What energy!what thrill! I chided with my friend afterwards because I needed this performance like I needed air. Perfect for those of you kept up in the house too long and waiting for something to give you all the feels. Make sure to find your way to the yellow door in the back and put your best face on. We don’t know how long this theater 🎭 thing is going to be around and let us relish it.",
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"ReviewTitle": "A Spooky New Experience",
"ReviewText": "This was an experience like no other! I have never seen a show that is as unique as Channel. For me, it took a little while to get into it just because of the nature of the show, however as it progresses you start to get sucked in. I'm hesitant to even use the word show because it was so immersive that you truly just feel like you are sitting in on this LD's night at the theatre. The way in which the creative team used the space was absolutely intriguing. The sound and lighting design was spectacular, it felt naturally spooky which I think is what made this experience so real. This is not the type of show I typically see, but I have to say I would definitely come back for more. Well done!",
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"ReviewTitle": "To be haunted",
"ReviewText": "\"one need not be a chamber - to be haunted\", Emily Dickinson wrote, \"one need not be a house - / the Brain has corridors - surpassing / Material Place\". Dogwatch's clever , heartfelt, and expertly rendered performance brings that idea vividly to life, reminding us that sometimes the very real, very grown up choices that haunt us are more terrifying than any phantom of sound and light. \r\n\r\nI suspect the performance finale is more chilling in person than it is online, and while there was some striking use of different camera angles in the live stream performance, I thought they could have done more with that. Even so, this is an enjoyable and effective short play that I would strongly recommend. ",
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"ReviewTitle": "Spooky and full of heart. (Live-Show-Review)",
"ReviewText": "It is so rare that one gets to have a first experience twice, with the world still trying to get back on its feet and theatrical-types working to regain their center of balance due to covid lockdown a return to live theatre turns the loud inner-voice aware of the artist’s machinations down and allows the art itself to breathe and feel new. I’ve felt similar experiences while returning to restaurants and movie theaters (during the pre-delta variant times we are now taking into cautious). “Channel” reignited that original, unironic, sense of magic and wonder that comes with watching live performance. With its beautiful set design and staging the show won me over before it even started. The moody atmosphere by abstract lighting, hanging sheets, the presence of a well-endowed and chaotically painted headless manakin, soundcloud beats (which all slapped) and the lone presence of LD (played by Elizabeth Efteland) gave a quiet, yet gently immersing pre-show.\r\nWithout giving away too much of the content, thus spoiling the reason you would watch the show, the emotional arc of LD as she quietly manages the space while doing what we all do when alone, entertain ourselves by snapchatting, texting, or calling family members. The interior life we get to see of LD while alone and the myriad relationships built with others while using only an object, her phone, as an acting partner was no small feat. Watching the narratives each of these relationships tell about LD is incredibly rewarding on it’s own merit and would make for an engaging performance piece about who we are when we deal with external pressures while they are remote while present. Subconsciously, deeply resonate in our Covid-Coping-Culture.\r\nWhere its content shines, on an already shiny platter, is the layering of the presence of ghosts. Remnants of the past that hang over LD’s (and by extension of our vicarious experience, our) head. A haunted theatre in a show about the intricacies and disappointments and frustrations of our toxic hustle and clique culture than no matter how much we claim to work for inclusion, always ends up playing a part makes it feel like the past of LD, all her disappointments, are reaching out to touch her on the shoulder. What is all the more profound, with no spoilers, are the questions that they ask. You’ll have to see the show to know, and to be asked them yourself.\r\nThis being a one-person show is carried with finesse by Efteland. It is already a task to build one character in a cast. To carry an entire show as the cast is even more of one. Through quiet internal moments, lonesome emotional breakdowns, and even more impressive the nuances of mannerisms humans do to regain their composure in the face of stress was so rewarding to watch. She presents herself without pretense, nor does she ever make you fall out of believing in the show’s world. It was a privilege to be in a live and intimate space to watch her perform. Larisa Netterlund should also be commended on her work in building and synthesizing Efteland’s performance with Shannon Elliott’s incredible tech. The lighting was incredible, and as a former sound engineer assistant the mixing on the sound cues between using the phone and how it transitions between audio-source-location from object to theatre speaker choked me up in the best way as an audio-nerd (it sounds amazing).\r\nIf I am allowed a parting thought, with a tiny spoiler (so stop reading now if you are going to see it), the show being about artists who are trying to live the life they want while nature takes its course on friends and family via age, the fraught parts of any relationship whether it be personal or professional, and how much of that is shown against being kept internal is something the so deeply resonated with experiences in my life that I, along with the sound design, got choked up . If returning to theatre means that I get the spice of experiencing an old thing for the first time again I am so fortunate it was with this show.",
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"ReviewText": "Dogwatch Productions’ Channel was a great piece of suspense. I got to watch a live virtual performance, and it was well produced for the virtual experience. I love a slow burn (I'm a big fan of the movie \"The Witch\") and this built us into the fear with great use of silence and tension. Anyone that’s spent time alone in a theatre at night and jumped at the sound of a thud in the dark, will especially enjoy this show. Loved the concept! Reminded me of sound designing late at night, being the only soul in the theatre, and feeling that slow chill climb your spine as you realize you may not be as alone as you thought. \r\n\r\n⭐️⭐️⭐️⭐️⭐️",
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"ReviewText": "It was lovely to watch this play in an outdoor setting, compared to a theater. So many little vignettes that went from funny to tender to sad then silly! Very creative story telling. In the words of Larry the Cucumber, \"I laughed, I cried, it moved me Bob!\"",
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"ReviewText": "Dagnabit, this play is confounding me. The first two thirds are exactly what the show description promises, and that has plenty of harrowing and sorrowful bits. We watch this young woman, her body wracked by pain and the guilt of being unable to live up to either the \"beautiful, joyous, radiant mother\" archetype of an Instagram feed or the \"soldier on and do ANYTHING for your child\" militancy of her own domineering mother. Then it takes a few drastic swings in direction and tone that I feel like would be major spoilers if I discussed them here. Suffice it to say, every time the last third suddenly whipsawed in a new direction, I literally had to rewind the recording to see what, exactly, I missed. \r\n\r\nAnd it would have been easy to miss something important, because this piece is marred by some sloppy production. Most notably, the subtitles (the piece is in French, with English subs) go horribly out of sync with the spoken dialogue, which renders long exchanges between mother and daughter a frustrating puzzle that you have to pick through, especially since one of the key bits of information that might explain the bizarre transition at the end is buried in these stretches of dialogue. Most of the video is also badly underlit, so several key moments in the more abstract sections are hard to discern, and the sound quality is poor enough that I couldn't tell if a sudden loud noise near the end was some intentional thing, or if a motorcycle just went by the building and they didn't bother to reshoot it. Also (and I know this is a small thing, but it says a lot) you might be able to get away with using a plastic baby doll in place of a real one on stage, but it looks severely less than convincing on camera.\r\n\r\nThese technical issues are disheartening, because I can see how well this play could actually work on a stage (even with the hard, sudden turns in the action) with proper lighting and careful staging and an awareness of how the medium it's being presented in can affect the audience's reception of it.",
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"ReviewText": "We immensely enjoyed this descent into puppet madness. From the start you are drawn into this world of the defrocked weatherman and his controlling manner. The fact that he is controlling hand puppets in a public access kids show in the remote NW town of Pine Point quickly becomes a footnote. From the first the Wuppets are real, if physically limited, individuals. And you care about them so when the worst happens, it hits you. With that kind of heart at its center, the satire within a satire of pop culture unfolds drolly with a know it all conspiracy theorist and an ultimately unreliable but at times totally credible witness (Hurrky) and a husky voiced older version of one of the main actors in the long ago mystery. We are at once lampooning the hyper silliness of a kiddie show and the pseudo-edgy true crime documentary that populate cable TV and the podcast universe. All of this is fun and who can blame anyone (Timothy Kelley as Jamie) for going over the top when it comes to fearful hand puppets being terrorized by an off his rocker kiddie show host. The Wuppets never fails to see the hand puppets as real as they stand in for underdogs everywhere who, as Hurrky puts it, are 11 inches tall on a good day.\r\n\r\nTom Gauntt & Sue Dieter ",
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"ReviewText": "I've been thinking about this show a lot since I watched it, and, in doing so, I have been reflecting on all the previous shows from Motz I have seen over the years. At this point, I'm crafting a Masters-level thesis on the Motz-verse in my head, and I think the central theme is perfectly summed up in \"Rewind-A-Buddy\": we're all desperately alone in this universe and violently thrashing around pretending that we're not.\r\n\r\nMotz's shows typically revolve around some highly-animated persona: the kind of guy who you might have 15 minutes of interaction with at a party and walk away thinking \"Wow, now that guy was a trip!\"; but, as you're forced to spend a whole hour with him, peeling away layers, you later start to think, \"Wow, that guy is fucked up.\" (Or, \"Wow, that guy is a monster,\" depending on which Motz show you've seen.) In this case, \"Buddy\" is working overtime trying to be your \"best friend\" for a commercial videotape that can only have been marketed to the limited pool of people who were even more isolated and lonesome than himself. His failures are entirely self-inflicted, but his dogged determination to continue on requires that he starts attributing them to other people in his life or entirely rewinding and rewriting his memories to fit to his narrow and bizarre goal. Buddy is basically the prequel to every confounding internet troll you've ever encountered.\r\n\r\nMy only quibble with the show is that it was originally written for the stage with the express purpose of aping the outdated technology of VHS tapes, and some of the archaic fussiness of both of those mediums could have been sanded down or replaced with the hip, modern fussiness of the digital streaming technology that it's being presented on.\r\n\r\nThat's a small complaint, though. Once again, Motz is winning in his delivery, even as he makes you squirm uncomfortably. You may be tempted to open up your old high school yearbook after this show, and, if you do, you may find out that, you, too are Buddy.",
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"ReviewText": "Rewind-A-Buddy's meditation on the vein nature of creating a perfect day based on a past cannot be rekindled is the kind of show that resonates in this Covid landscape, especially in a virtual context. Watching Buddy through a screen (mocking VHS screens to deepen the refences to the past) feels like an adorable, yet awkward, first date on the old mail service find-a-date tapes. The kind that 80s and 90s sitcoms would use as a plot device to bring in a long-term love interest. And, it is that kind of nostalgia romance that make spending the half hour with Buddy a charming time. Everything from the nerdy posters, shelves full of old books and video games, and even the furniture call back to a time of cheap wood paneled walls and Sega Genesis, with a VHS taped copy of Ghostbusters 2 when your friend who had HBO could get you a copy. This feels apt in our modern day obsession with pumping past nostalgia for popular media. The subversive turn to this choice is not all celebratory, in fact it calls out to us the audience not how hallow these past things are, but that the excitement of their substance cannot be regained. Yet, this dressing is only part of the equation. Motz lets this sit and breathe while the ongoing series of date-ice-breakers we are subjected to are isolated and one-sided because we can't respond to Motz in real time. We are subjected to what every episode of Mr. Rogers and Blue's Clues did to kids: you are asked questions by the TV you ultimately have zero influence over no matter how you respond. It gives the date-like atmosphere of this VHS tape-show this overpowering presence that I felt if I were in person for I would feel some obligation to cheer Buddy up, politely recommend therapy, or try to find an exit. And all of those things come from a human place where I as an audience member really do wish well upon this person. it starts as a game show, but ultimately bleeds into some little games and amusements all done to keep and cope with the hard parts about being human. In a world still teetering between being stuck inside for safety and venturing back out into open spaces, this production has an uncomfortable poignancy. It is a nice reminder that others get as nostalgic as you, and that sadness is real, but so is vulnerability. And that it is okay to be those things. It's a short, but profound, game of theatre.",
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"ReviewText": "Follow the winding path down to the outdoor amphitheater at Wood Lake Nature Center (just off 35W and 66th Street...so close to where you live)! There, surrounded by towering trees, theater comes alive again. Oh! Such joy! Beautiful, fantastic costumes! A play with lovely words from the 1600s but modernized for today! Amazingly talented actors plying their craft! Totally funny lines and acting that make you laugh! Sit back, relax, and let live theater wash over you again....like rain in parched fields or water long overdue in a dry land.\r\nSome of the most wonderful actors in Minnesota performed for us tonight, and they were absolutely amazing! Boo Segersin perfectly embodied the bubby, sanguine, free spirit that is Lady Happy. The three \"Lords\" were a total hoot, and Kayla Dvorak Feld's musical instrument playing was \"expressive\" to say the least. The costumes were over the top colorful and beautiful! The pacing of the play was excellent. Time flew by, and before I knew it, the play was over with much food for thought. And the message seemed to be this, \"Be true to yourself and who you are\". A good message for all of us.\r\nThank you! Thank all of you for the joyous evening of theater I experienced! I will definitely be seeing this performance again! If you are reading this review, what are you waiting for?? Get tickets and GO!!",
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"ReviewTitle": "It's True......This Show Is NOT About Darger",
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"ReviewText": "Darger as a foil for The Winding Sheet works perfectly. It is very enjoyable and fringe-y to watch artists talk about artists and arting when they are as talented and diverse as this cast.\r\nHow do you make art in isolation? Odds are, weirdly.\r\nIs it weird for The Winding Sheet Outfit to talk about themselves and the process? Yes.\r\nAre they some of my MN Fringe favorites from the last several years? Yes. So, this feels natural.",
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"ReviewText": "A quirky and creative exploration of art in isolation with some of my favorite creatives in the TC scene! I'm a fan of the TWSO, and the craft put into their work- this didn't disappoint. I love how visual this piece was - using the actors to recreate Darger paintings which couldn't be fully shown due to copyright, was an excellent approach (and honestly, more fun!). I love that they chose to show how they create - and there's some catharsis in watching artists persist in making art despite the challenges of the pandemic. Amber is a champ of a director. Beautiful music and editing by Derek Lee Miller! My favorite part was Kayla Dvorak Feld with a machete. <3 \r\n\r\n⭐️ ⭐️ ⭐️ ⭐️ ⭐️",
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"ReviewTitle": "From a Darger/Winding Sheet geek",
"ReviewText": "I'm admitting my bias up front: I love the work of Winding Sheet, as well as Henry Darger. So, take that information into account while reading this review. \r\n\r\n(If you're the same or half & half or the polar opposite, your mileage may vary.)\r\n\r\nCAVEAT: this is NOT your typical Winding Sheet show. And that can be a good thing. \r\n\r\nHaving seen (& done) Winding Sheet shows, I feel like this virtual realm gave them more freedom than their live, in-person shows. Less scripted performance & more documentary-style interviews, which I really enjoyed, if only to learn things about the WS performers that I didn't know.\r\n\r\nLike much of their work, you're gleaning bits of information about the subject matter (Darger) through a performative lens. But unlike their previous work, they turned the WS formula inside out this time, where it becomes more autobiographical about each performer. \r\n\r\nAnd that's why this is PERFECT for virtual viewing. It's giving this company a chance to breathe, expand their wings & not be constrained by audiences' preconceived notions about what a WS show is. You're also getting elements that wouldn't work as well in a purely live setting. \r\n\r\nWhat I found most effective is the accompanying, backwards video work in this piece. These warped reenactments really give you a sense of the mirror dimension Darger created (even if you've never seen any of his art).\r\n\r\nThis show works in tandem with Darger's prolific output by inspiring you to create, regardless of who sees or critiques your art. And also like Darger, it makes you realize how much creative detritus you have sitting around your house (which you may or may not need in order to create in the future).\r\n\r\nPast WS shows like \"Edward Lear\" gave audiences a little tease about the subject matter, but never gave away the full story. And this one does the same, but even MORE so. I hope it inspires people to learn more about Darger. His life (like his art) was ENDLESSLY fascinating & mysterious. \r\n\r\nOkay, last point. After watching this, I wanna see a fleshed-out Darger show from them now. One that explores the Vivian Girls & his warped sense of this world he created in isolation. \r\n\r\n(Also, no idea why I'm mentioning this: Megan described a child's game she grew up playing called \"Statue Makers.\" Down South, we called it \"Swing the Statue.\" It's an overcomplicated mess of a game, but fun AF. Louisiana singer/songwriter Victoria Williams named her 1990 album after our Southern version of it.)",
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"ReviewTitle": "Odd, Inventive Fun",
"ReviewText": "I have been a fan of WSO since the inception and have seen most of thier work. As per usual, this was very inventive and playful. It's awfully hard to do something about an artist when you can't legally show thier work, but they did a terrific job creating the vibe and jist of the artist without it. The actors were all in - dressing up and literally becoming kids (specifically the Vivien Girls). I enjoyed it a lot, but my older male companion, not so much. So, not for everyone, but if you let your imagination fly you'll enjoy it.",
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"ReviewTitle": "Don’t let the Climate Criminals get “Exxon”-erated",
"ReviewText": "As someone who has studied in depth comedy on the topic of climate change and has performed content of that description, I know how doing satire and parody about the climate dismissives is like shooting fish in a barrel- as they leave so much to work with. But this show has a plotline much like traditional musical shows rather than centering on that ridicule part. Just in the weeks as the Fringe was going on, we had that “Code Red” IPCC report where I found many people in my circles thinking the same thing as what I heard in the video. What if the deniers had to take the hit and pay for the damage to the climate in proportion to the “degree” of their defiance of climate science? What if we had to pay a climate reparations tax according to this responsibility with the carrot of a chance to lower the penalty? The church pastor took the words right out of my subconscious. There was occasionally some clever wordplay. The show did not get too much at all into technical lingo of climate science and policy so it was accessible in that sense, but it was a bit long though. A big part in the middle was not on climate related concepts but was in depth on the plotline. It is so great to see our common environment have a stage presence at the Fringe though it is an ongoing challenge as far as a performance that mobilizes and inspires action to solve the crisis. This was the only Fringe show I was able to see but wanted to make sure I did not miss it. ",
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"ReviewText": "Except, perhaps Audience participation (unless we count You Tube chat)... David Tyson has a very well-prepared, well-rehearsed one-man show. It just failed to be either wise and profound enough about the challenging issues it considered, or funny enough in its humorous sections... with one exception, for me - the skit with old \"Mr. P.\" whose observations about aging were both on target and humorous. The \"Everyman\" section up front was well-performed, but the messaging wandered about too much to hit the target for me. And, I really wish that modern-day jester section had just been dropped or tightened up - it just really dragged the non-Renaissance section down. On the other hand, your concluding words were quite thoughtful.",
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"ReviewText": "I feel a bit weird to be a contrarian, but the performance was below average to me. The humor struck me as being a bit stupid, as if it was written on the fly without editing. \"King Scoopty Woop?\" \r\n\r\nThe moral of the story is unclear to me. Women are the natural best leaders? They're the smart ones who are literate? Queens should value food, shelter and job and education for their populace? OK, but it seems a bit thin. \r\n\r\nAnd at the risk of being compared to the Jewish woman in the famous joke who exclaimed \"the food is terrible...and the portions are too small,\" it would be great if the cast were miked -- hard to hear them in the back, even when the planes weren't overhead. \r\n\r\nHowever, this is also what the Fringe is to me -- some hits, some misses; I love it all, but for me, this is one of the misses. \r\n\r\nOn the positive side, the players and much of the audience clearly seemed to be having fun. The grassy area on the gorgeous Bakken museum was the best venue I've experienced in the Fringe. The music was a nice touch. ",
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"ReviewText": "The fate of the kingdom is at stake: a rival nation has declared war, the king is a narcissistic jerk in jean shorts, the king's top advisor has to compete with the king's therapist to dispense advice on the affairs of state, and, to top it all off, only one person in the kingdom can actually read the declaration of war from their rival, and it's definitely not the one guy whose job it is to actually read. This is a silly play full of silly people doing silly things (in a good way). Kyle Munshower's script is jam-packed with jokes that are both elliptically clever and so dumb that they actually come around again to being clever. Griffin McEnery provides a top-level fiddle score, and the whole cast goes whole hog on committing to the stupid situation that these stupid people find themselves in. There's a fine line between clever and stupid, and this is it. It's one of the funniest things I've seen a the Fringe in a long time.\r\n\r\nThe Scribbler is performed outdoors on the green roof of the Bakken Museum. The only seats are chairs on the flat lawn, there's nothing to bounce sound to the audience, and, as it turns out, the Bakken is directly under the flight paths of many, many airliners going in and out of MSP international, so try to get there early for a front row seat. For the most part, the actors do a decent job of projecting over the din, but it was a bit of a strain from the back row. At any rate, even if you miss a few words, their energy will carry you through until the next bit of complicated wordplay, or at least the next gloriously dumb sight gag.",
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"ReviewText": "I am so happy I made it to see this show live. As a huge Ace Attorney fan and a Turnabout Musical alum, I was intrigued to see how Albino Squirrel’s interpretation would pan out. It exceeded my high expectations! Any theater lover, regardless of their familiarity with the source material, will have a blast with these wacky lawyers. The cast and direction is absolutely astounding. I saw the show three times and I’d see it again if I could! Bravo, team!",
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"ReviewTitle": "Amazing And Fun Romp Through The Courtroom!",
"ReviewText": "Full disclosure: I was a fan of this musical before seeing this production, but WOW have Albino Squirrel taken the show and truly made it their own.\r\n\r\nThe script is incredibly well cut to fit a regular musical runtime, while still telling the full story and keeping all the best moments from the original (very long) game.\r\n\r\nThe cast was amazing, making even the smaller roles memorable with excellent comedic timing and singing skills to match. There was not a weak performance to be seen!\r\n\r\nIf you’re worried about not knowing the source material DON’T BE! This show can be enjoyed by everyone from die-hard Ace Attorney fans to audience members only just finding out this musical is based on a video game.\r\n\r\nDo yourself a favour, and go enjoy this quirky, fun, and heart-warming show.\r\n\r\nAnd with that… I rest my case. ",
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"ReviewTitle": "Great acting, great singing, great performance.",
"ReviewText": "Disclaimer: I am someone who loves the Phoenix Wright series and has loved watching this musical develop since its days on a fan site forum, so I do not think I am equipped to write a review for a general audience. I would recommend other reviews if you are looking for a non-fan analysis of story and enjoyableness. That said, I did notice a diverse crowd tonight, and there were plenty of laughs as well as gasps of awe from even older folks who are outside the usual demographic for playing the visual novel game this musical is based on. \r\n \r\nEvery cast member committed to their characters and to each other. From big moments to small asides, they play off each other so well. They clearly went beyond what was required in their scripts to add something memorable. This was done, not in a distracting manner, but in ways that enhanced the play, both those playing recurring characters and those who had only a few scenes. I know video game fans can be nervous of adaptations, especially when Hollywood messes up movie after movie, but you can put those fears away for this performance. \r\nIf you need live music for your musicals, you should know the tracks are pre-recorded, but the singing itself is live and hearing the range of these actors is a treat. Tunes range from fun to sad to manic to threatening to heartwarming, and these actors know how to imbue these emotions with their voices as well as their body language.\r\nThanks to the cast for putting on such a great performance! I'm sure it has been tough to work on over Covid, but from those ashes your hard work paid off into a soaring experience. ",
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"ReviewText": "As a longtime fan of the Ace Attorney series I'm really happy to say that this production really managed to capture the feeling and charm of the game! The actors all really brought their characters to life on the stage! I loved seeing all the small references and gestures the performers did too really highlighting that they know the source material well! The music and comedy was also on point and I'm impressed at how well they managed to condense the game down while still keeping in so many small details. Even to those who don't know the source material, would definitely recommend! ",
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"ReviewTitle": "A Wonderful Show- Recommend Seeing It Aug 13-14-15",
"ReviewText": "Wonderful to have live theater - musical theater - in front of us again! \r\n\r\nHats off to the hard-working, well-prepared cast and crew, for a really wonderful and entertaining show! Our favorite of this Fringe, so far, through the first weekend!\r\n\r\nWe know nothing of the Phoenix Wright gaming series, nor the anime programs. I don't know why the Fey girls wore the number \"nine\" or why Marvin burst into his thing at the word \"past\" or \"passed.\" But I did see Bryn Tanner was in the cast - I used to work with his mother, who invited several of us to check out Bryn's 2015 Fringe show - which my wife and I loved (and tried some more, and have been back each year since). That got us in the door.\r\n\r\nBut we stayed for the full two hours fifteen minutes - and missed a 7:00 show that we double-booked, having missed the double-length of this one. It was too good to walk away from at intermission, without seeing the ending.\r\n\r\nI have to sing out the praises of the full cast, but there were literally nine standouts tonight - Christian LaBissoniere as the lead, Phoenix Wright, was strong in voice and in action -m fine leading spiky-haired man; Jenn Rathsack, from neighboring Coon Rapids, as Mia Fey stole the first 15 minutes for me, as I loved her character and her voice - and her later appearances were very welcome; the afore-mentioned Bryn Tanner, who made a secondary character memorable; Michael Turner, who first appeared in Act Two as the formidable Manfred von Karma, and was powerful and dramatic - hats off to his makeup choices and choice of mannerisms; Mary Loewen, who played multiple roles wonderfully, and showed off a great voice - so good to have her back in musical theatre; Peter Kistler, as Egdeworth, the Hamilton Burger role, which he affected brilliantly throughout the show with great depth and irony; Mia Breckinridge Scott as Maya, who sang beautifully and provided Phoenix with the perfect spunky right-hand woman; and Phillip Schramm, who made Dick Gumshoe an ever-evolving character, that moved from stereotypical foil to a real person - with a good voice. Both Ryan Niedenthal as Larry and Kaitlin Klemencic added to the strong depth of this terrific cast.\r\n\r\nHighly recommend attending one of the three shows scheduled next weekend!",
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