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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"ReviewTitle": "a well done radio drama",
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"ReviewText": "Other reviewers are referring to this as a work in progress. That would be overstating it. First of all, Theater in the Round was a terrible choice for this production - the whole arena environment does not work. There was no appropriate blocking, actors who were not speaking loudly or enunciating were facing the wrong direction, and the script was just lame. Most of the script takes place in flashbacks, where everything was essentially told already by the older character. I know it is hard to put on a play, there is a lot that can go wrong. However, this feels like it was produced as a junior high school class exercise. ",
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"ReviewText": "I love the minimalist staging of this show. The stage and the world of the play felt so big and full, thanks to the directing style of Michael Rogers. It’s so cool to see the world come alive with the actors acting out video game characters, becoming trees in a dark forest, or being a picture on a wall. I don’t know much about the world of designing and making video games, but by the end of the play I felt like I got a glimpse into a really complicated, frustrating industry and the hardworking artists who make it all possible. The music was wonderful, and the ensemble of actors really brought this piece to life. Definitely see it while you can",
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"ReviewText": "I attended the Saturday afternoon performance (8/13) and laughed the entire time - starting before the show began with a lounging Col Sanders seductively playing with a feather while lying atop a fluffy chicken rug. The cast is incredible - what a powerhouse group to bring this unauthorized biography to such fun and silly life! I read two reviews pointing out concerns about consent in one of the (many!) sexy scenes and today's performance appeared to incorporate that feedback, which is something I didn't realize when I was watching but I find very important to point out. The fact checker role is genius, as well as the Greek Chorus of the chickens, and there are some great songs too! The entire cast is top-notch. Highly recommend to anyone who appreciates very silly humor while getting educated on a universally recognized figure - along with some campy sex jokes and even a dash of horror! My rating is 11 secret herbs and spices out of 11!",
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"ReviewText": "Kehoe is a great performer. He is able to mix very scripted and unscripted moments together with ease and it's a joy to watch. The show is very funny, and then it isn't. It's a sharp critique of how US White Nationalists have weaponized the teachings of Jesus Christ. Kehoe is such a strong performer that we love his Jesus, and then he morphs into the villain he would have to be if it were actually his teachings that the White Nationalists were committed to and not a warped version of them. It is a strong piece of art that lets you laugh and then reflects the horrors of our political landscape mired in the misappropriation of Christ's teachings. High stakes show. Fun and thought-provoking. ",
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"ReviewTitle": "These are my cheetos, drink of my diet coke",
"ReviewText": "An absolutely brilliant slow burn as the Messiah endears himself to us with his grounded theology, enthusiastic parables, and Allan Parsons lyrics. An incredible twist on a knife's edge as the power of sacrament is employed masterfully and Jesus himself falls down the rabbit hole. Political and theological commentary at its finest, razor-sharp points made directly and effectively without belaboring the point or ironically evangelizing.",
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"ReviewText": "Neil Gaiman's \"The Wedding Present\" is the story a newly married couple who receive a letter as a wedding gift that describes in detail their perfect wedding day. A year later they come across the letter again but it has changed. Now it's describing their first year of marriage but instead of the happy successful marriage they have, it describes an alternate reality version where tragedy has struck and they are having a difficult time. It's like a modern day variation on Oscar Wilde's The Picture of Dorian Gray. The letter updates as time goes on reflecting a more and more unhappy outcome to their lives, while in their real lives they seem almost too successful and happy. In this stage adaptation of Gaiman's short story, the gender was changed from a man and woman to two men. Perhaps a nod to Wilde, who was imprisoned for being homesexual in the less enlightened times in which he lived. It's a great story idea, though I've not read the source material and the script is solid as are the performances. It did feel like the ending didn't quite come together as clearly as it could, but that may be an issue with the short story.",
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"ReviewText": "I went to this show at least in part, because I knew about the casting troubles and wanted to support the show at this somewhat out of the way venue. I was also intrigued about the Neil Gaiman short story. On Sunday evening, the Stage Manager was still filling in and still had a copy of the script in hand, but I sincerely didn't care one bit. This Stage Manager felt quite natural in the role, other than the script he occasionally referred to. The script was really well written and the entire cast was excellent. The very sparse staging worked well, because it put the focus on the script and acting - which is where it belonged. I highly recommend this show. \r\n\r\n",
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"ReviewText": "The 45-minute musical On A Stick is a clever look into one of the greatest fascinations of the North Star State and an obsession of many, from those who love to watch the baby animals at the Miracle of Birth Center or a group of young punk pop performers searching for stardom but frustrated by a lack of opportunity. The threat of outsider Richard Effinghead to purchase the fair and repurpose the land, along with the internal drama among the members of Pontoons of Death (aka On A Stick) could spell the end for the annual get-together as well as the band, but you'll have to attend to find out how it all pans out.\r\n\r\nThe standout star is, of course, the portrayer of villainous Richard Effinghead (Kaz Fawkes) who can really belt it out, even though both of his songs are essentially the same. More backstory on him and his relationship with the fair (and his odd name) would have helped round out the story and given him more purpose other than \"to be the antagonist.\" The members of the band are jaded lead singer Meg (Sarah Frazier) whose snarky delivery garners some laughs and whose personality undergoes the biggest transformation; excitable but sometimes misplaced drummer Owen (Aaron Cook); slacker guitar dude and State Fair defender-till-death Nels (Casey Thomas), the enigmatic but impressive bassist who doesn't get a name for some reason (Nels Gilbertson-Urtel), and Ashley, the sunny, plucky keyboard player with an appetite for all the fair foods, even some that are not edible (Ava Jo Molzen). Other characters include showrunner Perry, a dad with more Minnesota cliches than you can shake a stick at (Travis Carpenter, also the writer), and Sweet Martha (Shell Wolfe), a loveable deus-ex-machina who pulls a hat trick out of her cookie bucket with a style like Phyllis from the Office. The character who got the most reaction was mostly silent Roadie (John Haine) who appealed to the audience despite only speaking once and spending most of the play moving things around the stage for the characters to use, like mic stands and benches.\r\n\r\nThe audience could have easily stayed another half hour for more back story and jokes about everyone's favorite way to spend the last few weeks of summer, but if On A Stick's MO was to make me look forward to the Fair, they made their point. Overall, a fun and nostalgic romp about fame, friendship, and fried food that'll have you jamming along in your seat.",
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"ReviewText": "Coming to On a Stick I knew I was going to see a quality Fringe show. Ever since Oregon Trail I have been a fan of this group and On a Stick did not disappoint. The script was clever and very funny and you do not have to be a State Fair junkie to enjoy it. The acting and music kept your attention and I am looking forward to seeing them again next week. \r\nBravo! ",
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"ReviewText": "Literally Entertainment is one of my favorite groups at Fringe and for good reason. They continue to come up with creative new ideas for musicals :) I could only go to one show this year because of some health complications and I'm glad I got to see these peeps :) \r\n\r\nMy only deduction was because sometimes the instruments were so loud I couldn't hear the lyrics, but it was corrected by the end and was overall a fun romp! ",
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"ReviewTitle": "Classic, fun entertainment",
"ReviewText": "This is a classic, silly, over the top at times, fun show. As a person who loves the \"Miracle of Birth Center\", I loved the various references to that exhibit. Crazy and nonsensical at times - just as you would expect. Little tech trouble with the opening song, but this was just a good time on a stick.",
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"ReviewTitle": "Not my favorite fried Fringe show",
"ReviewText": "We've all been excited to try a new food at the State Fair. But sometimes you get your stick of fried goods, take your first bit and think \"...I expected more.\" That's this for me. Shoutout to Kaz (Richard Effinghead) and Nels (The Bassist) - I thought they were the vocal standouts. But overall, the script needed a bit more, and the performances left me wanting a bit more. ",
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"ReviewText": "Sometimes the stars align to, on first viewing of a play, make me fall head over heels in love with it. Penelope dir. Mina Oelrich did just that. If you like fun or classics or laughing out loud, come see PENELOPE.\r\n\r\nAs a fellow high schooler, nothing makes me happier than well-done theatre by teenagers. The four suitors were brilliantly characterized and acted, I had no doubt that I knew each of them and what his morals were. I was never bored. I look forward to seeing whatever comes out of Any of these actors or producers' careers in performance. I came to this show because I had a friend performing in it (ily Graham), but I left utterly smitten with this play and the way this cast handled it, and I think this version will always live inside my brain. Shout out to Burns for helping me remember that beneath these terrible hulking globs of masculinity, they're just people.\r\n\r\nAs a post script, I really don't like that (generally) the actors are staged in speedos in the bottom of a swimming pool? The frat-house-yard staging that this production does with \"asshole college kid\" costumes really made the show visually arresting (and didn't take anything away that speedos would have added, for that matter.)\r\n\r\nI wish I could see it again. 10 stars.",
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"ReviewTitle": "Holy shit",
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"ReviewText": "Closure is such a necessary process for a person's mind to help cope with a loss, whether of a loved one, a special relationship, or anything else that becomes such an important part of one's life. When you can't or don't get the closure you need, it is emotionally hard to navigate your feelings both consciously or subconsciously. Shoe Night is a story of trying to find the closure you need. Kelsey Norton is wonderful at finding the right words and emotions in her writing/directing that allow William Edson (Ben) and Gillian Constable (Norah) to beautifully portray that human need. I laughed along with the characters as if I knew personally knew their stories of memories shared along with leaning in as if to be closer to the characters so I could offer some type of emotional support. This is a show with a story I feel everyone needs to hear. ",
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"ReviewText": "40 plus minutes of captivating solo work. Hilarious , polished, and sorta terrifying. As someone who lost a close family member to Qanon, the twisting reality of disinformation/fake news is beautifully and horrifyingly recreated on stage. A timely piece of theater that resembles the descent into unreality that’s affected us all these past few years. For those of you who’ve lost loved ones to the rabbit hole, I highly recommend seeing this one and leaving time for a walk with your thoughts. Thank you, Coldharts! ",
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"ReviewTitle": "didnt flow actors seemed to thwart promising ideas",
"ReviewText": "Slender Vale is an improv horror show. Improv and horror are two genres that I generally enjoy. The combination of the two should be really interesting. Maybe it can work, but tonight it didn't really ever get into a groove. When you think about it, Horror in itself is a genre that routinely fails to stick the landing. There our hundreds of horror novels, movies, TV episodes, and yes plays that are really effective right up until the end, and then kind of lets you down. Horror is hard to write well, it really shouldn't be a surprise that a genre that relies heavily on a well crafted and constructed build up and a satisfying end doesn't lend itself well to being made up on the fly. a Horror story without a plan would require and uncanny amount of luck to successfully pull off. Sure there are individual moments and performers that worked. The darkened basement for example and everything Tom Reed said. But as a whole it never felt like it had any sense of direction. The performers seemed to constantly be thwarting each other and anything that looked like a promising development plot wise. I wrote all of these thoughts down before I saw the final show of the day, or it might have been less favorable.",
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"ReviewText": "Swim Team is a devised piece that lets you dive into the lives and experiences of the titular team as they navigate new experiences and young relationships. This fantastic piece oscillates between synchronized movement, storytelling, vocalizations, singing, and swimming, to create scenes that draw you into the world of this Swim Team. You experience, with the performers, the highs and lows of practice, the ridiculousness of creating in-jokes, the vulnerability of sharing stories, and the joy of coming together to create something bigger than oneself. George McConnell, Molly Thomas, Brittany Williams, Linsey Wente ( who stepped in only a few days prior to the performance to fill the spot for a previous cast member who got sick and did a phenomenal job!), Rachel Walker, and Samantha Johns should all be commended for this innovative performance. It uses what little set and props they have in increasingly unique and unexpected ways to enhance the storytelling of the piece. As one of my fellow audience members told me after the show “ This show embodies the magic that you can only get from live theatre”. I think audiences will all be able to take something from this performance and it should not be missed!",
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"ReviewTitle": "(You Make Me Feel) Like A Hysterical Woman",
"ReviewText": "The subject matter of The Hysterical Woman couldn't be more apropos, and I had only heard good things about the show but found my experience to be mixed. The material chosen was excellently curated; Ariel Pinkerton's pastiche of wish-fulfillment scenarios and documentary drama was unusual, grounded, and refreshing to see at the fringe. Sometimes truth is more powerful than fiction - just ask Anita Hill. The only part that dragged, in my opinion, were the clipboard sections after the two-person scenarios; those felt a little clinical and preachy, Wikipedia-esque in nature, and if they had been more heartfelt and spontaneous, it would have kept the pace better. The quality of performers fluctuated greatly. Ariel Pinkerton is an absolute tour-de-force, and her Charlotte Perkins Gilman piece hit all the right emotions without seeming overwrought. Destiny Davison brought out the fun and cleverness with her radio-voiced 1940s detective, and a firm but effective interpretation of Anita Hill's testimony. Andrew Troth and Rachel Flynn's performances came off as somewhat less dimensional and dynamic than the others, but served their purposes. The weak link was Linda Sue Anderson's flat-soda, less-than-inspired script reading, it seemed out of place and took me out of the otherwise hard-hitting drama; had she been off-book and making more eye contact with the audience, it could have been more oracle-like, reflecting the shades of Ancient Greek drama referenced in the beginning of the show. Overall, The Hysterical Woman was brilliantly constructed, strikingly original; not just a cry for help but a wake-up call to action.",
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"ReviewText": "A wonderful exploration of the history of patriarchal methods of control over women that is still an ongoing problem today, and goes back for as long as we have written history. Well performed, well written, you flit from example to example of ways women have been silenced both in larger world event arena, as well as the individual and personal. Reminders of work still to be done.",
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"ReviewTitle": "Straight from today's headlines",
"ReviewText": "This performance couldn’t be more relevant. The themes of reproductive rights and womens’ subjugation are straight from today’s headlines. The actors and director paint a picture of a dystopian future that is eerily possible if we sit idly by and allow it to happen. Dialog and audio clips of real so-called leaders and officials from today’s political dynamic set the mood. The stark stage, young cast, and grotesque imagery draw the audience into a powerful moment. I appreciate pieces like this one that challenge and make me think. Stick around for the discussion and Q&A with the director and cast after the show.",
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"ReviewText": "I was hoping for a new voice and a new perspective on where we could be going as a nation in the wake of the the Supreme Court wrongly overturning Roe v. Wade. Instead the audience was assaulted with unmitigated rage. Unfortunately, it was laughably staged with loud disturbing sound effects that drowned out all of the dialog.\r\n\r\nFour young women in virgin white with red dance slippers are effectively presented being forced into a regimented life by their oppressors, black beekeepers with Freddy Kruger fingers.\r\n\r\nThere's nothing new here. A good portion of the script recounts the Garden of Eden story offered in excessive earnest, presumably as proof that the Christian God hates women. Following a bloody abortion, the play rises to a crescendo and stays there until the conclusion.\r\n\r\nKudos to the cast for maintaining an incredible level of energy through the entire production. Unfortunately, the script fails to come close to its synopsis. The speeches by the government officials are so distorted that they are unintelligible.\r\n\r\nThe theme of the show is one-dimensional, with their most recent decision, the Supreme Court has released the Krakken. Women are mad as hell and they will have their revenge. ",
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"ReviewTitle": "Criminal or Sacramental?",
"ReviewText": "Spoiler alerts: Brilliant throughout! The demonic faceless male god/governmental leader who demands adoration from and total control over women dressed in white with red slippers is despicable,horrifically frightening, and a very real current and future dystopian figure. The opening rote prayers reminded me of the MN Opera's \"Handmaiden's Tale\" where those who can, serve only one purpose: to bare children. When Eve discovers bleeding between her legs the reason is unclear: it could be a miscarriage, fear of a fetus that cannot survive, an unwanted pregnancy forced upon her, or the decision she cannot choose to bring a child into such an unjust and horrific world. A decision is made, but not alone, and not lightly. The fetus must be taken. This is not a light hearted decision for the potential risks are great. \"Are you sure?\" the women ask. \"Yes.\" What follows is a sacred ritual, where the other women comfort Eve and assist in the horrifically painful process. Though disturbing, it is also beautiful. I am reminded of a tee shirt I remember seeing long ago: \"if men got pregnant, abortion would be a sacrament.\" The demonic powers that be know a grave sin has been committed and demand to find out who has perpetrated it. An eye for an eye. A tongue torn out. Horrific and tortuous punishments. Eve comes forward. it is she, the one they seek, and as has happened throughout history: a woman is burned at the stake for her refusal to be dominated over by men who see them as less than, inferior, inhuman. But Eve will have her revenge. She is resurrected as a golden warrior, returning to destroy the enemy that has destroyed so many. I am reminded of Lilith, from the Jewish faith, who was Adam's first mate. He wanted her to lie beneath him so he could have dominion over her like all the beasts and animals of the world. She refuses. She wants to lie beside Adam and be his equal. Adam is enraged. Lilith leaves the Garden of Eden of her own free will. Some say she represents all that is evil in women. Other's say she represents all that is free and self actualizing. Either way, the joke is on Adam. When he complains to god that he wants another one to replace the one who left, Eve is created from his rib, his side, representative of her being his equal. And yet for centuries, Adam and so many self righteous men do not get it, refuse to accept women as human beings in their own right. This is a very powerful and a very disturbing show, but one with hope that when women are strong and united, they cannot and will not be kept down. Goddess bless all the wondrous women of the past, present, and future who will not be dominated over by those who are despicable and demonic towards them. May all that is divine, bring forth a more tolerant human race.Amazing costumes. Pertinent sound cues. Outstanding direction and so much more. See this show, and stay for the audience discussion.",
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"ReviewTitle": "Great mix of music and improv!",
"ReviewText": "Musical guest Mitch was awesome, really showcased his talent. The performers took little details from the interview and song lyrics and created scenes out of what they heard. Interesting to see what details they pulled. And you could tell all the artists love what they do onstage. It’s a great time if you want a good mixture of music and comedy. ",
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"ReviewText": "I love the unique combination of local music and improv inspired by song lyrics. No audience participation is required - unless you want to join in the call (\"That was the music\") and response (\"now here are the scenes!\") - which can take the heat off anyone who avoids improv because they don't want to be put on the spot. Scenes are a montage style. Some have an obvious connection to lyrics while others play off of inspiration from previous scenes. Lots of callbacks and the occasional pun are highlights for me. I highly recommend watching the musician's face as they see the scenes inspired by their music! ",
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"ReviewTitle": "\"The Ballad of Billie Joe\" meets Monty Python",
"ReviewText": "Super Fun show last night at Bryant Lake Bowl Theater with The Local Music Scene: Courtney Yasmineh in MN Fringe. It was amazing to hear Courtney’s heart-felt, poignant performance of her autobiographical “I Was Married to Bob Dylan” and then see it morph into a comedic improv sketch. Kinda like \"The Ballad of Billie Joe\" meets Monty Python. Wow! Talk about unexpected cross-over! Only at The MN Fringe! Kudos to brave Courtney and The wacky, wildly funny Local Music Scene players. This talented improv company has three more Fringe Fest performances with other great Twin Cities Songwriters including Dave Dvorak of Zoe Says Go, Mother Banjo and Kaity Joan of Joan The Profile. Definitely Check them out!",
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"ReviewText": "It was so fun getting to see the Local Music Scene come back! I saw the very first show and it was such a blast. The musician that night was so talented. I really liked all the songs he did later, and then all the improvised parts inspired by the music flowed together so well! It’s just a simple and fun format of good music and good comedy",
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"ReviewTitle": "So Happy LMS is Back!",
"ReviewText": "After a two year hiatus Local Music Scene is back. The previous 75 minute show is cut to a breezy 50 minute affair and the Fringe-induced change suits the show rather well. We got 4 samplings from the musical guest interspersed with quick spurts of improv like always but this time faster and funnier than before. ",
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"ReviewTitle": "Follow parallel storylines...",
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"ReviewTitle": "Lots of fun, great details, outstanding acting",
"ReviewText": "Perfect start to Wednesday Fringe! We didn't know much about Spiral Theater and there weren't many reviews, so we went in fairly blind (at least for us). We aren't familiar with the movie - in fact, didn't even know there was a movie!\r\n\r\nBut we had a great time ... lots of creativity and nearly a full house (530, Wednesday), so get there early.",
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"ReviewTitle": "really funny! with some serious moments!",
"ReviewText": "I want to thank Spiral Theatre for creating and producing some of the silliest plays I've seen in the last year (everyone keep ur eyes open for more). I love what Eva Mulloy has written in another review of this play about fringe being an experimental venue and the value of comedy in the theatre. It *is* very easy to think of the theatre only as a space that is heady and dark and deep and academic whether you are a part of it or not. And that's great, I love when art is sad and serious. However, there really is something so wonderful about shows that more than anything want the audience to have a lot of fun. The Man From Earth is a ton of fun. The script is overflowing with jokes, every moment of this show contains something for the audience to laugh at. The director and cast have worked together fabulously to not only make every joke land (an impressive feat in itself), but to tell this story very clearly. \r\nThis play makes a point to have something for everyone. It's a party and it's open to whoever wants to hang. That welcoming spirit is something I very much admire, and it is something we must continue to strive for in the theatre. Great work y'all!",
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"ReviewText": "I am not a video game person by any means, but this show does well because the cast has a lot of heart and fun on stage. I knew what to expect because I had seen the original Turnabout last year at Fringe, and I think that helped out a lot with this production. The actors do a wonderful job embodying the characters and you can tell they are having fun (which I enjoy seeing the most). The set and some of the new costumes felt like an afterthought. That was disappointing in comparison to the last production. A lot of the exposition comes from the songs, and it can be difficult to hear the singers with the music, so some background knowledge of the game would be beneficial! I wish more of the exposition came from dialogue just to make it easier to follow. I know fans of the video game will leave happy! Overall, I enjoyed myself. If you want to see actors have fun in their roles, this is a great, refreshingly fun show.",
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"ReviewText": "A collection of four short plays retelling bible stories. There's really not much more to say here beyond the show's description. I was hoping to find insightful commentary or theological explorations, but really the stories were just injected with modern phrasing and passably acted. Nothing gained, nothing lost. \r\nAdam & Eve stood out, setting a high bar that the rest of the show did not clear.",
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"ReviewTitle": "Waves... Waves... And Mores Waves... Eternal Waves",
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"ReviewText": "This was theatre performance at its unbridled best. Raw, exposed, and educating at every line, prop, movement- WHAT TAKES WHO blurs the fourth wall and is unyielding in its criticism of society, going so far as exclaim the failures of the industry that the presentation hinges on, theatre, under capitalism. It is *the* show to challenge yourself with. You will be left thinking about the lies and broken promises and inequalities perpetuated by systems for hours after you leave your seat.",
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"ReviewText": "Fucking capitalism, amirite? This raw depiction of life in our country, including all the inequality and rampant racism, is really messed up - in truly the best way possible! There's singing, a dino puppet, literal soap boxes, tampons, and lots and lots of cold hard cash. With [somewhat] personal stories interwoven into the show, the actors shine through their passionate and engaged performances. Highly recommend sitting in the front row!",
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"ReviewText": "An example of devised socio-political work actually building to something greater than the sum of its parts! This ensemble piece does not shy away from making pointed political commentary authentically from the voices and bodies represented onstage. It's still a little heavy-handed and didactic, however. If there's a way to make this type of show really sing it is few and far between. \r\nSome moments of visual spectacle really sizzle, others fall flat, but the voices of the folks onstage carry true. Still thinking about the haunting rendition of that song about the wolf.\r\nThere are many shows in the festival this year embodying justified female anger, and this is one worth contributing your time and capital towards if you'd like to make a statement.",
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"ReviewTitle": " HILARIOUS, CHILLING and COMPLETELY UNFORGETTABLE!",
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"ReviewText": "The absurdity of portraying Pooh and his friends in the setting of \"Who's Afraid of Virginia Wolf?\" intrigued me. This production delivers from start to finish. Thomas Buan and Stephanie Johnson are excellent as the married couple, Pooh and Piglet. I thought I would fall out of my chair when Piglet announced, \"What a Sty!\". And it only gets better from there. Buan's Pooh is intense and intriguing to a fault. \r\n\r\nStephanie Callaghan plays Hunny. Her ditzy naivete is adorably engaging. Nick Hill is a bit uneven as Christopher Robin, but he definitely has his moments. Congrats to everyone involved, particularly Alexander Gerchack the Director/Writer. There were so many ways to mess this up, and he avoided them all. A brilliant mash-up of a psychological thriller with a beloved children's story. ",
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