Sub-Total
2022 Audience Reviews
Check out some of the most prolific reviewers:
Florence Brammer (52) Corrie Fiedler (43) Joe Allen (41) Vit Kat (41) Rob Dunkelberger (37) Marie Cooney (30) Jeanie Johnston (27) Kelly A Danger (24) D K (23) milli manchester (22)
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Total Reviews | Average Rating | Show Title |
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"ReviewTitle": "Intriguing absurdism disguised as a food fight",
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"ReviewTitle": "So stupid, it's brilliant",
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"ReviewTitle": "Top of the food chain",
"ReviewText": "Alleged Theatre does it again! No plain dogs in this group - they are like a Chicago dog: full of adventure, sweet relish, and spicy pepps to keep you on the edge of your seat. These 3 guys know how to season their comedies with existentialism and complex conversations. They aim to please and my taste buds have been satisfied. ",
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"ReviewTitle": "There is a plot!",
"ReviewText": "Three Guys was not what I expected, and I was glad about it. It felt like watching Taskmaster with a sick twist of Squid Game thrown in. As an audience member, it made me feel a little gross and voyeuristic, but conflicted because I also wanted my number to be called so I could throw hotdogs at them. Ah, the duality of man. This show is a lot more philosophical than you’d think, giving you something to talk about on the way home. Why do we enjoy watching others humiliate themselves? Why is another’s discomfort our joy? Feel free to ponder these questions as you watch, or just go and enjoy the messy absurdity. ",
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"ReviewTitle": "Groundhog Day Meets The Squid Game ",
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"ReviewText": "Danna is charming, open, and honest on stage and with her stage-dates (and I assume her other dates?) - she makes everything feel very easy. She was clearly thoughtful in constructing a framework for this date with a random audience member, which has the potential to be really awkward. It was fascinating and fun to watch Danna and her date navigate a first date situation together in an honest way. I found myself wanting to hop in because I was so invested in learning their hopes and fears, and other early dating stuff like weird dietary restrictions. The waiter (Mike) added an extra layer of tongue in cheek humor and moved the date along. Highly recommend, especially for an evening show! It's perfectly light but with so much heart. ",
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"ReviewText": "The concept is wild, and inspired. Let’s audition some audience members to go on a “real” 30 minute date with the show’s single star. The execution was lacking because well, inaudible half the time. And the actual show creator, who was up there, and knew they were gonna be up there for an hour didn’t have too many zingers up their sleeve to liven up the show. Almost like Danna was up there gesturing, saying right guys? Great concept? It does all the work for me! Unfortunately that’s not the case. So much down time where there should have rightfully been amazing quips and yarns. Yes, pre-bake those. The audience will not know they’re cribbed and will thank you for being entertaining the whole 50 minutes, they will not think you’re an imposter because the whole thing isn’t pure improv, even at huge. If late night tv show hosts can do it, surely a trained improviser could? looked at my watch a lot. ",
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"ReviewText": "JackDonkey’s A Drug Play “Devised” is a piece that heavily utilizes movement, audio, fight choreography, satire, and statistics to relay the ongoing effects of the war on drugs. It showcases the mentality that was crafted to see drug users as sub-human and pushed on to us through government programs, such as D.A.R.E. and how these perceptions disproportionately affect minority and immigrant communities. That said, this performance can often feel heavy handed, as the actors yell or scream every line they deliver, delivering a script that is as subtle as their volume. Throughout the performance it did not feel as if the cast had any personal stakes in the disparities or injustice that they were talking about, it felt as if they threw a dart at the wall with a list of issues that plague our country and happened to land on drugs. While I believe the cast and director for this performance are incredibly talented I feel that this performance unfortunately was a miss. I cannot recommend seeing this show, unless you are interested in a lecture on drugs with some pretty dance and music weaved in. ",
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"ReviewText": "A night at the theatre usually leaves the audience entertained or thinking. Opening night of A Drug Play “revised” by JackDonkey Productions did both of these. An incredibly talented ensemble of five actors, dressed in neutral but effective costumes, effortlessly owned the arena with strong acting, synchronized choreography and floor work, and singing throughout. (An actor playing an electric guitar on stage was a nice touch). But what captured the sold-out audience more than the dynamic and powerful performances was the story itself- which is after all why we go to the theatre. This work makes you uncomfortable, angry, sad and guilty, yet also hopeful and the beneficiary to the side of the war on drugs that doesn’t make the nightly news. When the cast repeat statistics of the racial disparities for incarceration among black offenders at 13x that of white users, or how those doing crack are thrown in jail while Prozac is prescribed as often as exercise or cutting your red meat intake, we are reminded how these issues are complex and unjust. The play brings the drug epidemic front and center, as it should be, and smartly against political excepts of famous speeches from Presidents Nixon and Clinton, with a grunge musical soundtrack and comedy sprinkled in. This festival, add A Drug Play “revised” to your must see list, and remember, “Drug Addicts are Bad, Seriously.”",
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"ReviewTitle": "Wonderful movement, meh for those who agree",
"ReviewText": "The performers are incredible, professional, obviously take great enjoyment and pride in their performance, which is fantastic to watch. The show and story itself I was a little disappointed on. There was not much very evident throughline, though there is something to be said for letting the audience fill in the gaps for themselves. It was quite loud, including that nearly all of the lines were projected to a point of nearly shouting. I enjoyed the music a lot but it was loud, so bring ear plugs in case. I found that where any character/storyline was perhaps a bit too subtle, the messaging was the opposite. Not a bad thing, necessarily, but it felt like it fell into the valley between convincing someone who thought the war on drugs was/is a good thing that it was/is not, and giving a deeper understanding of it to those of us who already agreed that the war on drugs was and is wrong and targeting heavily marginalised people. For those of us who agree, it was not really giving us anything particularly new or profound. For those who think otherwise, I think it was too shouty and in your face fire it to realistically change minds. Perhaps a target audience might be well-meaning people who know very little about the war on drugs and don't have strong opinions on policing, institutional racism/classism/ableism, and capitalism. That just seems a little difficult to find, particularly among the audiences who are likely to be interested in such a show. I would say, go for the movement and performance quality (the performers' faces were just a expressive as their bodies, wonderful to watch), not so much of you are looking for a deeper or new understanding of the war on drugs and its roots and consequences if you are already aware of them to some extent. ",
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"ReviewText": "So beautifully choreographed and staged, loved getting lost in the movement! Very clear about the violence that has always been and still is the “response” to drug use. Would’ve loved to see some resources and how the government supplied drugs to target demographics, but it can only be so long and they used every second wisely and intentionally. ",
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"ReviewText": "I wanted to like this show so badly, I spent a lot of time trying to solve it. This piece does have strengths: the sound design was incredible, the movement was captivating to watch, and Delvina Logeais’s voice in particular was striking. However, my enjoyment ends there. First of all, the title of this piece is misleading: there is no way this performance could be called “a play”. This is a movement/dance piece with some yelling every once in a while. This piece flipped wildly from annoyingly obvious to head-scratchingly obscure, with nothing in between. There was a lot of recitation of statistics, but no sources for these statistics were offered in the program or on the website, so we’re just supposed to take their word for it. Most importantly, I wasn’t convinced that these artists had any connection to this issue. It’s like they all watched the documentary “13th” and were like “yeah, let’s make art about this”. This piece wanted so badly to be revolutionary, but watching five pretty white dancers writhing on the ground isn’t going to radicalize anyone. ",
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"ReviewTitle": "A beautiful Mix of Dance and Theater! ",
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"ReviewText": "Wow. This was... something. As I left the theater I overheard someone say \"that's what happens when white people smoke too much weed\" and... yeah. That's accurate. \r\n\r\nThis company has a good amount of promise. Their sections of movement were incredibly engaging and full of grace - a dance involving a red piece of string was stunning and left me breathless in a good way. \r\nWhat also took my breath away - in a bad way - was how those sections contrasted with the ones where the performers stopped moving, started talking and tried to engage in the subject matter with a script/sketch. Their section with statistics ground the momentum of the show to a complete halt, an agit-prop attempt involving pig noses belonged on SNL as a bad parody of social justice theatre, and the fact that their arguments were made from a piece of privilege (everyone on stage at least read as white, and didn't tell us anything to lead me to believe otherwise) WITHOUT ACKNOWLEDGING SAID PRIVILEGE left a sour taste in my mouth - seriously guys, it's just one sentence. \r\nExcellent sound design. Great costume concept. \r\nMovement sections - 5 kitties. Everything else - 1 kitty. Average = 3 kitties.",
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"ReviewTitle": "Skilled storytelling & invocation of Baba Yaga",
"ReviewText": "I saw the first show, which was also the first I saw during the festival, and have been meaning to leave a review! And to go back and watch it again, because I will happily see this show more than once. It was a great way to start my festival. \r\n\r\nLaura's skill in storytelling is clear. I would gladly take lessons on narrative arc and character from her. There is a bit of a slow burn. At first she is just a woman on stage talking with the stage fully lit, I was not really sure how it would go. But then... oh then. As soon as the lights change and she shifts to a new mode the magic is infectious, and I found myself transported. Maybe it is my bias as someone who has always been drawn to the woods, dark and old stories (including the Baba Yaga), and someone who especially loves the tales of women, wisdom, and people who are both good and bad (or neither). When Laura spoke as Baba Yaga, I swear her facial features themselves changed, and she transformed from a woman you would see on the grocery store or driving to work to the Baba Yaga herself. I couldn't help but see her with a scarf on her head tied under the chin where no scarf existed, and her eyes deepened and sparked with an ancient magic - knowing and searching - peering right into you it seemed. \r\n\r\nAt the end she answered questions from the audience, and while it was clear that she was using the art of being vague enough to seem personal and profound without much actual knowledge of the context, it still felt like usable life advice from someone who has listened and learned a great deal. I definitely came away with a deep warmth, and kinda want Laura to adopt me as an honorary niece or grandchild or something. Talking to her briefly after the show was just a much of treat as the show itself. \r\n\r\nWhile I don't know that this show would be everyone's cup of tea (tea that is of course the drink of choice for Baba Yaga), I highly recommend it - especially to those who love the woods, stories that shape our lives, and want to possibly encounter Baba Yaga!",
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"ReviewText": "How many of us have had the good fortune to be able to ask about life in \"the old country\"only to receive an unsatisfactory answer. I loved Laura's advice to ask a different question: to ask about the stories while growing up in the old country for there you will find the essence of truths of a culture that might be better served in story mixed with history. When experiencing a fear unimaginable, \"go to the woods!\" We know from many wars and conflicts, one might find escape or death, but it will be different than standing still. Laura Packer is an amazing storyteller. She weaves the personal questions of her children and finds answers in ancient tales, in which she then becomes the conduit from the past into the present and the future. The wise crone, you can learn much from her if you wish to follow her on Facebook! I promise, there is much delight and some fear to follow! I am personally so pleased that Laura is part of this year's MN Fringe Festival! This specific story is appropriate for all ages and encourages audience participation at the ed.\r\nSEE IF POSSIBLE!!!",
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"ReviewTitle": "POWERFUL! Cannot stop thinking about it.",
"ReviewText": "Black Wall Street: Dreamland Theatre takes us through an emotional journey retelling this country's violent history. Through the use of multimedia and audience interaction / participation, the actors command the stage and deliver such a strong performance. Every line, exchange, and piece of art on display is intentional and helps the story move forward while keeping the audience on the edge of their seat. Black Wall Street: Dreamland Theatre will have you thinking and reflecting on racism, race and the way history is shared. Thanks for helping us have the conversation!",
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"ReviewTitle": "Riveting! A MUST SEE of this year’s Fringe.",
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"ReviewTitle": "Important message, but not a lot to the show",
"ReviewText": "This is a moving piece about the 1921 massacre in Tulsa. It is worth seeing for the message it conveyed. Performances were good, but there wasn't much to the show itself ... probably half of it consisted of playing previews of silent films featuring Black performers. There could have been more to it. ",
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"ReviewTitle": "Immersive, visceral & powerful",
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"ReviewTitle": "Experience American History",
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"ReviewTitle": "Extraordinary art, important history",
"ReviewText": "Black Wall Street is a unique, well-crafted play that puts the audience not necessarily on stage, but deep into the world of the play. If you are already familiar with what happened in Tulsa, the first part of the piece is rife with tension as you brace yourself for what will go so horribly wrong. One of the huge strengths of this production is its talkback/debrief that allows the audience to process the intense feelings this play arouses together, which helps keep the conversation going after you leave the venue for days after you’ve experienced it. This is some of the best work I’ve seen at Fringe (and it sold out the day I saw it), so reserve your seat for this must-see!",
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"ReviewTitle": "Could have been really great",
"ReviewText": "The premise of the show is excellent and I very much wish more had been done with it. For instance, the movie previews were a fascinating touch of immersion in the setting, but they went on far, far too long (most of the show's runtime is taken up by these projected movie clips and slideshows). When the \"screening\" is interrupted by violence taking place outside, the show again immerses the audience in the trauma of the (real, historical) moment, but this mostly consists of characters (most of whom we don't even know, having only encountered them briefly at the beginning of the show) yelling, arguing, and pleading with one another in a cacophony of voices and explosions. And then - this will be vague, because it's hard to explain this part without spoiling too much - the climax of the show focuses on characters that aren't even in the show itself. There was so much opportunity to use this idea (\"what was going on inside the Dreamland Theatre during this historical moment?\") - to explore an incredibly important topic and to fight against this history being rewritten, forgotten, and repeated - but sadly, the show falls far, far short of its potential.",
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"ReviewTitle": "A vital look at suppressed history ",
"ReviewText": "Even though I have travelled to Tulsa almost annually for most of my life, I only learned about the Greenwood massacre about five years ago. That is simply an absurd and obscene fact. While I found the vintage film clips fascinating, I think they could have been reduced so that more time was left for the powerful acting. But that is a small quibble with this important and powerfully presented short play. ",
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"ReviewText": "The work has a stunning narrative arch that takes you on a journey. The characters are all so poignant and well directed. Each of them, a well crafted and grounded character. The story is layered with such intricacies that you are attentive throughout the entire work. I appreciate how this work is not just performative but informational. I recommend, as engaged audience members, that we do the work of further informing ourselves on this history that makes up our nation. ",
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"ReviewText": "Sometimes it's fun to play fast and loose with history. But there is another kind of pleasure that comes from watching a show that does, by and large, follow history --- entertaining us AND enlightening us. Having said this, I must say that it's a good but not a great script; the dialogue is the weakest part. Fortunately, B&R more than makes up for this with deft and amusing swordplay and beautiful, haunting a cappella (voice only) versions of classic sea shanties. Every performer was a strong singer, so the songs alone alone were worth the price of admission. \r\nIt's a shame they had to cancel 3 of their 5 performances. Word of mouth would have made this a real audience draw. ",
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"ReviewText": "I'm so glad I got to see this! Haute Dish productions did it again! This show was full of everything you would expect to see in a pirate show in addition to bringing a little history to life combined with great a cappella arrangements of a variety of sea chanteys. It will make you laugh and get you thinking. No spoilers - you have to see it for yourself.",
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"ReviewText": "Shiver me timbers! THREE SHOWS CANCELED followed by thunderous performance! Song, dance, sword fights, male misrepresentation of HERstory, danger, adventures in love and more. FILL THE HOUSE FOR THEIR SECOND AND FINAL SHOW!!! (I seriously want the cast to sail with me upon Granuaile, named after the Pirate Queen of Ireland!)",
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"ReviewText": "Burr: A New Musical Revue is a qualified success. Most of the songs are really strong and many of the performers are good singers. This could have been, or maybe it's better to say, this can be great. But there are a couple of things that are working against the show. First most of the acting outside of the musical numbers, is not good. It's almost baffling how they perform the musical numbers really well and then the few moments of dialogue it's like they have never been on stage before. Not every performer but particularly Marie Finch-Koinuma as Theodosia and Trey Arika as Aaron Burr, seemed like they were acting for the first time. And Finch-Koinuma's problems carried over to her singing as well. At times she sang beautifully and other times, not. Stand outs in in both acting and singing were Tony Peterson as James Wilkinson and Zack Cambronne as Thomas Jefferson. The second issue was the music track they were performing too at times overpowered them. I thought the actual songs and plot line were very solid, it was in the execution that it was really hit or miss, but mostly hit. I'd love to see this expanded upon.",
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"ReviewText": "Having done a Fringe Fest show on climate in years past, my heart really goes out to anyone who uses the gift of this wonderful platform to advance awareness of such an existentially important issue. \r\n Leslee, Nicole, Whitney, Jothsna are not like professional performers who may only think of the topic of climate for about 15 minutes before slapping a show together. I personally know all 4 from being active in the field of climate justice organizing. It is refreshing to hear from performers who actually lives what they are talking about. \r\n\r\nThe show reminds me of why I got so frustrated at the college I went to for only offering an environmental science undergrad degree and not making a humanities or social science version of environmental studies available. Facts alone do not lead to the change we want to see because ordinary humans can’t make sense of unordered data. We have to weave our data into some sort of a narrative, metaphor or value-laden terminology that triggers affective cues. The flesh of meaning is much more desirable than the bones of bare facts because it contains the muscle of “why does this matter”. Meaning is necessary for facts to be absorbed. That is why the powers that be who want to keep things the way they are try to keep various fields of study isolated in separate silos rather than talking to one another. \r\nThat is why this show has potential to be subversive, in a good way. \r\nOne thing that was missing from this show is that it did not tap into the primary emotion that I feel regarding climate disruption, which is anger. Drawing attention to anger may be beyond the comfort space for some, but we could use some examples of how to take anger and transform it into beautiful subversiveness. That is why I get a bit annoyed when I hear people from technocratic grasstops organizations giving a presentations on climate in such a dry and unemotional manner. I hunger for them to speak truth to power. Jothsna is really great counterweight to that and she is great to listen to while giving presentations- and I wish she would have shared a bit more. Buffalo Weaver had so many great sayings but went through them a bit too quickly for me to grasp onto. I wish they would have put the lyrics on the projected screen so I could follow along better. \r\n",
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"ReviewText": "I stayed for this show after another at Bryant Lake Bowl, and I am very glad I did so. I enjoyed the educational, artistic, seeking climate justice and personal story aspects of this show. This was a new direction and cultural expansion for the MN Fringe Festival. We could grow to new depths and greater inclusion with shows like this! Thanks for being part of the festival. One particular highlight for me was the singing, drumming, and guitar!",
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"ReviewText": "In his telling of The Táin, Connor McEvoy provides a masterclass in the art of storytelling. His performance is riveting, driven with a near frenetic energy that grabs the audience from the word go. It is also a piece devoid of the sort of self seriousness that can at times haunt such \"one man shows\"; Connor lets the strength of the story itself take stage in his faithful reading.\r\n\r\nWhile as grand and thrilling as one would hope for from any hero's epic, it must also be stated just how funny this piece is. Connor will let the story build to a gripping tension, only to snap back to reality as himself to deliver a one liner aside, to hilarious effect. The decision to build in asides/footnotes in his own voice gives the show a levity, and highlights just how charismatic of a performer Connor truly is.\r\n\r\nThe piece is accompanied by Bradley Kallhoff, who scores the action on his mandolin. This scoring and the dynamic built between Bradley and Connor in my mind brings the story to the next level, the music binding everything together into a cohesive whole. Watch for the penultimate ballad Bradley provides, an emotional climax that delivers.\r\n\r\nWith nothing more than music, a mask, a spear, and his voice, Connor creates a piece of theatre everyone should see. It is my favorite work of the year and I hope you see it, I look forward to seeing what Connor's gonna tell us next.",
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"ReviewTitle": "Irish Cow Heist Goes Horribly Wrong!",
"ReviewText": "Irish myths and legends provide some of the most deep and engaging stories, able to rival any of the great pantheons. However they can be a challenge to approach with the Irish penchant for tangents in their stories and the number of difficult names, locations, and relations to keep track of( e.g. The title of this show!). Conner McEvoy, however, distills the story of The Táin Bó Cúailnge to its core, providing all the context, and pronunciations, relevant to the story while keeping you engaged from word one. This is storytelling at its best. The narration is made even more impactful by the fantastic accompaniment of Bradley Kalhoff on the mandolin. Heed the advice of the Druids: It will be a lucky day for you when you make time to see this show!",
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