Sub-Total
2023 Audience Reviews
Check out some of the most prolific reviewers:
Corrie Fiedler (42) Christopher Stenzel (42) Maria Ghassemlou (36) Luke Harbur (36) Nicole Mellas (32) milli manchester (29) Jeanette Chalgren (29) Marie Cooney (27) Richard Shields (24) Michael Shaeffer (20)
Click on any column heading to sort reviews by Number, Rating, or Title.
Total Reviews | Average Rating | Show Title |
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"Name": "101 Goofin' Things - Amanda Helling",
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"ReviewRating": "5",
"ReviewTitle": "Great Goofin Fun",
"ReviewText": "101 Goofin Things is a delight. With some scripted parts and some improv, you may find yourself playing a game of \"scripted or not?\" The 101 tasks are anything from simple to absurd to crowd-participation-heavy. Play along with Bingo as the Mastermind ticks off tasks in their ultimate revenge plan. The show is different every night: will you see serious contemplation of what theater is mingled into the goofiness, enthusiastic kids encouraging the Mastermind's evil plans, or both? ",
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"Name": "101 Goofin' Things - Christopher Stenzel",
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"ReviewRating": "3.5",
"ReviewTitle": "Not My Cup of Tea",
"ReviewText": "One of the Fringier shows I've seen this year, it succeeds is doing what it says it will be doing--performers dance to the whims of bingo balls drawn at random and are tasked with absurd action or are hampered in some way for the remainder of the show. That would be fine and could be fun, but the \"punishing taskmaster\" conceit sucked the wind out of my good mood's sails and the performer was often hard to understand to boot.\r\n\r\nI enjoyed the show less than my score suggests, but that's my own fault for being unable to embrace the spirit/intent of this show. While it wasn't my cup of tea, it may be yours.",
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"ReviewRating": "5",
"ReviewTitle": "Hilarious Improv",
"ReviewText": "I loved this show man. The ad libbing/improv is the best part, and the character of the game master was very excellent and entertaining. Since the show doesn't \"wrap up\" in one night I would want to go again to see what else happens (it's not a plot heavy show but task wise yes). They of course don't force crowd participation but I think the more you're willing to be involved and interact the more fun it will be for the actors and audience. I laughed a lot which is saying something; think a combo of task master and minute to win it. ",
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"ReviewRating": "4",
"ReviewTitle": "Fun Interaction",
"ReviewText": "Fun show. Good for Fringe.",
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"ReviewRating": "4",
"ReviewTitle": "They Won't Do Every Thing... And That's Ok",
"ReviewText": "Going in, I expected them to get through all 101 things before time ran out and I started to get anxiety about them finishing on time. Knowing that that won't happen and it's not designed to happen I think would have eased my mind, but I still had fun. It was silly and funny and messy and the audience all had a good time playing along! ",
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"ReviewRating": "5",
"ReviewTitle": "The epitome of Fringe ",
"ReviewText": "Goof Goof is absurd and experimental and silly and fun, I laughed a lot and got my portrait painted! ",
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"ReviewRating": "5",
"ReviewTitle": "Egg-xactly what I was looking for",
"ReviewText": "These goofs have goofed me before at Fringe and I knew walking in there was a very good chance of being goofed again. Luckily my intuition was right. I was laughing so hard I was in tears within minutes of the start of the show with the first dance break task. This show was packed with hilarity and goofin tasks that were a joy to watch. The interactions between the goofs and the very funny mastermind were awesome and as someone who normally fears the words “audience participation” I really loved the way Goof Goof involved their audience — it just works. Their energy is contagious and everyone enjoyed themselves. This show is spontaneous and creative and ridiculously funny and while you might leave with a prize, you will definitely leave with a huge smile.",
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"ReviewerName": "Kate Brown",
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"ReviewRating": "5",
"ReviewTitle": "An absolute delight!",
"ReviewText": "I search and hope to find Fringe shows like this: unique, silly, entertaining, and expertly done. This show was such a delight! Liv and Phil go all in, sometimes bringing the audience along for the ride (a few bouts of optional audience participation were some of my favorite moments). The lottery of random tasks was full of surprises - watercolor, a game of telephone, salsa, and as some have said: EGGS! I left wanting MORE! What else was in that book?! This is a great show if you are Fringing with kids (see their suggested age range)!",
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"ReviewRating": "3",
"ReviewTitle": "Oi, Poor Phil",
"ReviewText": "A vast amount of the tasks were in Liv's favor with Phil left to take the brunt of the punishment. Poor fella. At any rate, it was great fun and laughs all-around.",
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"ReviewRating": "4.5",
"ReviewTitle": "This IS Fringe!",
"ReviewText": "I was expecting stupid and absurd and what I got was even stupider and more absurd than I imagine. I love seeing shows like this because they embrace the weirdness Fringe should be all about. Also, let's all please tell Phillip he is a good person. ",
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"ReviewRating": "5",
"ReviewTitle": "Delightfully Fringey! ",
"ReviewText": "I had a great time at this show. The performances were strong and funny, and never let up or got stale. The tasks were all clever enough, but I feel the real magic in this show is how it might arguably be viewed as a metaphor for the Fringe Festival as a whole. And seeing a show at the TRP is always a treat. Definitely worth fitting into your schedule! ",
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"ReviewRating": "5",
"ReviewTitle": "Just a Goof!!!",
"ReviewText": "These Goofs are Goof-tastic!! \r\n\r\nEverything about this show is so incredibly fun!! The randomness. The props. The activities. The dance breaks. The interactive Bingo Game. The special guest who seems to have a long-seated vendetta against the two goofs. The Whipped Cream. The race car roombas. the EGGS!\r\n\r\nSEE! THIS! SHOW! It is so fun and so outrageous!! It is very Fringe! \r\n\r\nPhil and Liv are NOT TO BE MISSED!!",
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"ReviewText": "\"5 Prisoners\" isn't the type of show I would normally seek out at Fringe, but with people I know in the cast, I wanted to give it a go, and I'm glad I did. Each of the 5 scenes gives the audience something to think about and explores the idea of being a prisoner, both in the traditional sense and in more metaphorical scenarios. Each has something important to say, but some land better than others. My TLDR: Good. Weird. But like, good weird. Worth a watch!",
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"ReviewTitle": "A poor script with mostly subpar acting",
"ReviewText": "This is from seeing show #2. In one sentence: one of five Fringers holds down the fort of this marginal prose collection of what prison could look or feel like. In three sentences: The first of five vignettes set my heart ablaze, hooking my interest on how a prison could be seen in a physical or metaphorical medium. Then that hopeful candle dimmed and dimmed and dimmed, with an attempted \"Twilight Zone\" sci-fi writing style that might translate well to screen but frequently felt disjointed and awkward on stage. I am not sure who this show is truly meant for in its entirety, so I am not sure what kind of person I recommend this show to.",
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"ReviewTitle": "some compelling social commentary",
"ReviewText": "saw this one because I had seen previous shows that Duck Washington is in. five vignettes, and some compelling social commentary. what worked for me the most was the final one, the debate about rehab and justice. the alien in the green costume also made it memorable. along with being caught off guard with the one where the medical pro scolds the blood donor. what didn't was the one where people were bound and gagged in chairs, while somebody shoots them. I was lost as to why it was part of the show. also seemed wrong to have one scene end with 'breaking the fourth wall' saying 'enjoy the rest of the show' as this wasn't a comedy. that being said, there still was enough of what I saw that I liked. ",
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"ReviewTitle": "The Shorts Fringe Needs",
"ReviewText": "I love short and pointed plays, and this themed compilation is excellent. Well-known, talented, and beloved local writers and actors give you 5 takes on Prisonerhood. Not all of the pieces may speak to you, but there are some great commentaries in the mix. I would love a Fringe that was more short-friendly. Until then, I hope Ghoulish, et al continue to produce themed compilations of stories like this because not every idea needs 55 minutes.",
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"ReviewTitle": "Very well performed ",
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"ReviewText": "Honestly I had absolutely no idea what to expect, I just knew I would enjoy what I was going to experience. And boy did I! Besides the incredible and artistic beauty of these performers stage presence and love for the audience, I experienced a full range of emotions I honestly wasn’t prepared to feel. This show creates a feel of confidence that I have not felt in quite sometime, and I was only in the audience! See this show, support these performers, and bring this dollar bills ya’ll!",
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"ReviewTitle": "Come for the Beauty, Stay for the Empowerment.",
"ReviewText": "I expected to see 13 +, plus size goddesses onstage. What I got was so much more! First of all, the devised theater experience of a shared narrative was very entertaining. The message that burlesque welcomes all bodies (even YOU) and empowers the dancers was not lost on me. We were also told a little about the rich history of Burlesque that dates back further than you think and was a vibrant part of the Twin Cities. All the delightful performers are local so make sure to check them out around town! This show will be your first tastes. Don't make it your last!",
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"ReviewTitle": "An Absurdly Impressive and Stunning Fringe Debut!!",
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"ReviewText": "As others have stated before me, the acting was good, Carson is compelling, but I would not say that I was at all moved by this show. In fact, the \"advertisement\" shown on the big screen before Rachel came on stage was far more moving and compelling, causing most of us in the audience to gasp and shake our heads in disgust. But the portrayal of Rachel Carson caused nothing like that that I could tell. I think that Katie Knutson is a good storyteller, but either she needed to breathe more personality into Ms. Carson, or Ms. Carson did not exude much personality. I did enjoy the Q and A at the end, particularly when Ms. Knutson discussed her own journey in learning about Rachel Carson. I am in my 60's and read Silent Spring in high school in the 70's and don't recall a time when I wasn't aware of Rachel Carson and her significance, so I found it interesting that Ms. Knutson and audience members did not know of her at all until recently. I, and my cohorts (I grew up on the east coast) still wonder at all of the bald eagles we see now and take delight in each one that flies by because when I was a child, eagles were almost wiped out by DDT and we never saw them. We credited Rachel Carson with helping to save the eagles.",
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"ReviewText": "Well I could not allow myself to miss seeing a good environmental show in Augsburg Studio… \r\n\r\nThe story of what led up to Silent Spring is an important story to be remembered. \r\nAs someone who works with environmental activists of many stripes, the recurring themes of having an idea rejected because it is “too controversial”, or risking the wrath of the reactionary industrial dinosaurs is all too real. \r\nAmidst the familiar chorus of voices calling for “pragmatism”, there is the light of conscience that know when everything dear is being threatened, staying silent is a sin- that is what the show illustrates. \r\nHaving worked in an environment where my manager would put on an astronaut looking space suit to spray pesticides way after hours when no one else was around... and then coming down with a treatable form of cancer- it hits personal for me and others. \r\nThe most magical part about the show was when the actress impersonated Rachael Carson at the end. It was like she was there today being interviewed right there (though in a time warp to 1962). That takes real talent.\r\nOne thing to add is that much is still relevant today right here in the city. I participated in a mini protest about some illegal use of pesticides in Minneapolis parks. Having gotten the signatures to bring a resolution on this to the floor of a political convention, I have seen the debate between those who say we need some limited pesticide use for special cases and giving natural organic alternative landscape treatments a chance and who has swayed members of the Park Board on this. \r\n",
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"ReviewText": "I will never see or smell earthworms again without thinking about this important story about a woman ahead of her times and unfortunately ignored too often. Earthworms pop out everywhere as do the long term effects of DDT. As a person who sustained Traumatic Brain Injuries and now suffers from sensory overload, the pre-show film about how DDT was blatantly used in many forms without care really affect me. I am also grateful the Katie suggest a storm with minimal lighting effects, which made coming to this show possible for people with various neurological disabilities and sensitivities. I am familiar with Katie as a storyteller of shorter works. It was a delight to see a full show of hers. I am delighted she got a last minute spot in this year's fringe and I hope we see more of her. I also recognized so many of the names of local and distant storytellers who were \"listeners\" and helped with the development of this show. The storytelling network of friends is amazing. Thanks for stepping in after a cancelation.",
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"ReviewText": "Rachel Carson and \"Silent Spring\" are significant elements of what is America. Despite having read the book many years ago I did not know anything about the author. This show is well-written, entertaining and educational. We enjoyed it very much. I would have liked to have heard more about push-back she received from the chemical industry and government, but the show was good nonetheless. ",
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"ReviewText": "Rachel Carson is a name everyone should know but many do not. At a time when DDT was being hailed as a miracle chemical, she sounded the alarm about its dangers to the environment and in particular its deadly effects on wildlife and birds. But even if you've read her book _Silent Spring_, you probably don't know anything about the struggles of the woman who researched and wrote it. I certainly didn't. Katie Knutson brings Carson to life in this polished one-woman show. Although Carson was notoriously introverted and guarded her privacy, Knutson reveals the passion behind her reserved exterior. The simple set and costuming are period perfect. The show is in the Chautauqua format: first we watch Carson in conversation with an (unseen) visitor; then we have an opportunity to ask Carson questions (which Knutson fields brilliantly); and finally Knutson steps out of character to engage with the audience around her own experiences getting to know and embodying Carson. If you care about the environment, women's history, storytelling, and/or what does (and doesn't) make it into our collective American memory, you should see this show! ",
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"ReviewText": "I did like the concept of the show. I feel like it has good bones but needs better execution. I walked into the show very intrigued and wanted to like it due to the description, but it just wasn’t well done. Having so much voiceover really took me away from the show. I presume I understand why they made that choice - timing and volume with the pre-recorded soundtrack - but I felt like I was watching actors mime onstage because they didn’t know what else to be doing, and they looked uncomfortable just trying to fill space. I would have much rather watched them act. It also wasn’t clear if the voiceover was purely the main characters inner thoughts. Conceptually it seemed like that was the case, but in reality I feel like half of what was considered the thoughts could have been spoken dialogue, and some of what was spoken seemed like the character’s thoughts. Also not a fan of the portrayal of the girlfriend. I get that we are watching an unreliable narrator, but the details of how long she’d been around were messy. Throughout the entire show, the writing - not just the main character’s lens - played her up to being a bitch. *spoiler here* The fact that she demanded priority when the main character’s dad could be dying was treated as valid. Neither character’s actions were appropriate but I felt like that was never properly discussed. Then her flaws were resolved with a heartfelt song? Also what happened to the big time producer? Had some unforgivable plot points. I didn’t really follow any of the “comedy,” seemed like they were counting on the throw away one-liners like “hungwy” to pull all the laughs: and with an audience full of friends it did. But anyone that was not a friend wasn’t found scoffing. It needs more rewrites. The producer said it was their first time writing, directing, etc and it showed. I’d still say it’s a worthwhile addition to the fringe because of the creativity of the concept. I’m excited to see what the author brings to future fringes with more experience. ",
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"ReviewText": "This review is from seeing show #1. In one sentence: - a wonderful example of experimental theatre, this original story of a composer matches the show genre: through a bold medium it mostly works and a handful of times it doesn’t. In three sentences: through the exploration of live music scoring paired with sharp sound and lighting design, the audience sometimes feels involved and dissolved by the story being told. Some character relationships and climatic points needed some directorial guidance and the early 2000s inner monologue motif sometimes felt wearing. However the script and story body will continue improving and it's a show worth attending due to being something you've probably never seen before.",
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"ReviewText": "Full disclosure, I worked on graphic dseign for this show - but I had not seen any script or performance until opening night. Kyle's passion for history is bubbling out of him to great effect here, analyzing and recounting the life of a true oddball in MN history. If you love history, you'll find some wildly interesting moments here.",
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"ReviewTitle": "See it if you've never heard of Ignatius Donnelly",
"ReviewText": "I was definitely not the intended audience for this show, as I've been bemused, bewildered, and oft-times horrified by Ignatius Donnelly for 30 years - and at its core what this show is is an hour-long introductory lecture about Donnelly. My main issue is that it seems like it could have been so much more than that. I've admired Decker's other shows and if I wasn't already very familiar with Donnelly's career and crackpot writings, I probably would have been more engaged So if you know nothing about Ignatius Donnelly, go see this show. ",
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"ReviewTitle": "An Entertaining Look at a Minnesota Man",
"ReviewText": "I wish all history lessons were this entertaining. I learned about the racist nature of Atlantis, who was a Baconian, and the power of hubris. Will this play be coming soon to a History Center near you? I. L. Donnelly believed the myth of the American hero, and not in the power of the collective. ",
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"ReviewTitle": "thx, Prof Dekker",
"ReviewText": "i closed out my fringe with this show, and it was a strong finish. Ignacious was so into himself, that his wife advised him to shut the hell up to avoid looking stupid in public, and it worked…for a short bit. i had never heard of ignacious before this show, but now i’m really interested to learn more (without reading any of his 80 page poems). luckily, kyle did the painful reading for us, so i bet you could get him to share more. what didn’t make it into the show?!!",
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"ReviewTitle": "Don’t ever slam the door on forgiveness ",
"ReviewText": "“Man is born broken. He lives by mending. The grace of God is glue.”\r\nI thought of those lines by playwright Eugene O’Neill after seeing this show. Betsy’s family provided her with incredible opportunities, but she had to steer through a sloshy sea of an increasingly drunken father and mother.\r\nBlessed are those who don’t slam the door on forgiveness — and this humorous and vulnerable play shows that Betsy has chosen the wiser path.",
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"ReviewText": "This is (I hate to admit it) my first time seeing any iteration of A Midsummer Night's Dream and I think this may be my new preferred method of consuming Shakespeare. It was very efficient, which seems to be the point, or at least one of the points, and the cast really meant business. I loved how they sort of stashed their costume pieces in the trees. They worked together with the precision of a marching band and while the show itself was fast, I had no trouble at all following the plot, catching the dialogue, and enjoying the ride. Alison Anderson, who played many parts in this, gave me some great advice when consuming a different Shakespeare show which is: to not focus so much on what's being said or how it's being said, but rather to just let the words wash over you and pay attention to the acting and the story more than anything else, which has really increased my enjoyment of the Bard. It's a simple and sparse production, so the acting is what makes this one feel so special. It ran a teeny bit long, but it was the final slot of the night so that was no problem for me - just be careful if you're planning to travel to a remote venue afterward. And it bears repeating since I disclose it in all my reviews, although I've already made it obvious: I have a friend in this cast. ",
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"ReviewTitle": "This is how to keep Shakespeare alive and well!",
"ReviewText": "This review is from seeing show #2. In one sentence: for this goofy Shakespeare tale, Mooney's aid with a fairly prolific cast enriched the credibility of his name and life's work. In three sentences: from seeing one of Mooney's solo Breakneck shows to witnessing what seemed to be a debut of a cast alongside him, this was an impressive, punchy, fun version of summarizing Midsummer Night's Dream. Though the show's slight overtime was forgivable, one or two scenes felt like they could be cut due to a message/theme already being well-delivered by the featured cast members. However pay most attention to the cast's playfulness and Mooney's own element . . . you leave knowing you've witnessed the gift of classic works being told by a great batch of solid actors.",
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"ReviewText": "Tim has amazed audiences for years with his one-man shows condensing Shakespearean epics down to the 59:59, so it felt like I was witnessing something truly magical at his ensemble cast of Midsummer Night’s Dream when his repertory company blossomed into a cast of six—all talented actors, including Jeremy Motz of NPC! at the Fringe. Knowing that this cast relied on zoom conferences for rehearsals up until this past week makes the blocking and chemistry in this romp even more impressive. I am so excited to see Tim’s repertory company take this next step. I suspect even bigger things are on the horizon for him, and I’ll be there in the front row when that happens. If you love the Bard, you owe it to yourself to witness this clever and expertly-executed take on one of his best. Congratulations, Mooney and crew!\r\n",
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"ReviewText": "This is coming from a perspective of someone with 5+ years of Shakespeare experience, so do not take my word as an \"average\" audience member. First, I thought the amount of text that the actors had to juggle (as well as how just how many roles they were playing) was seriously impressive. It's difficult to memorize just one role in Shakespeare's canon, much less 2-3. Considering how fast it was advertised, I was expecting more of a Sparknotes/modernized text version, rather than a cut & sped-up version. So off-the bat, I really really appreciated it! Also thought some of the staging was very funny (having Hermia on her knees during the fight scene was great). I also thought the props that were included were really gorgeous - Bottom's donkey head was just awesome. Some things I struggled with were mostly the stakes of the performance & some scene transitions. The Christmas trees were clever, but some of the transitions between scenes were a bit slow (at least the time I saw it). I'd recommend this one if you're trying to get into Shakespeare, or just enjoy it! I did find the play to be understandable, which is probably the most important thing for the audience with classical text.",
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"ReviewTitle": "Abridged Shakespeare with all the good parts",
"ReviewText": "This shortened version of a classic I've watched before at full length and certainly read at least once was simply delightful! It left me and my companion wondering, What did they cut? The story rolls along, the poetry flows, the rough tradesmen's play-within-a-play leaves us laughing, and Puck's magic enchants. Every one of the half dozen actors moves among multiple roles so seamlessly that this itself seems magical, but of course it's a sign of remarkable direction, skillful acting, and thorough preparation. ",
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"ReviewText": "I saw this show on Friday night and very much enjoyed it, but did have a little trouble keeping track of a few of the players and plot points. Five actors played something like 18 parts (??). I followed enough to enjoy the show and have fun, but would have loved to debrief this show with a friend afterwards, but there was no time. ;-)",
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"ReviewTitle": "best cliff note Shakespeare !",
"ReviewText": "Mooney is a fringe veteran who always puts together entertaining work! I was glad to see this was not a solo show and he used talented local actors to fill out the cast. As always, Mooney was terrific, especially as Bottom. Funny and fast paced!\r\n",
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"ReviewTitle": "\"Breakneck Will is Another Dream\"",
"ReviewText": "Thank goodness for a new annual Tim Mooney production - and in one past Fringe, he did a terrific climate disaster show, which we invited him back to town to perform for a community audience that fall. More recently - both via Zoom and in person, he has brought Breakneck Shakespeare to town, usually with fun audience engagement. (Last year, we had a verse \"scavenger hunt\".)\r\n\r\nThe MND team, complete with printed shirts beforehand, was a smooth, fun group of skilled performers, something we've been unaccustomed to with Tim's frenetic one-man shows. Props to Tim, himself, as I thought his Bottom, complete with ass's head was a real highlight - maybe because of the terrific voice Tim chose to utilize (and he is a skilled voice man).\r\n\r\nCindy Sherdan warmed up the crowd in an engaging manner, played the butt of the show's first joke, then charmed throughout as Puck.\r\n\r\nAfter a little difficulty hearing Alison Anderson during the intro, I warmed up to her work throughout, especially in the role of Hermia.\r\n\r\nSchmoo Cutlip, who I hope we see in the Minnesota Fringe again and again, brought their wide range of performing experiences to totally charm this attendee, whether it was as the icy Hippolyta, the put-upon Helena, or the demeaned Snout. Their facial expressions and posturing made their three roles very unique throughout.\r\n\r\nPeter Buckholtz, whose Oberon did indeed look an awful lot like Lysander, provided an older hand's experience on stage, and much like Tim, made effective use of different voices (even Flute's) to convey differences in his roles.\r\n\r\nAnd J. Merrill Motz, who not only has these lines to do, but also his own Fringe solo show, provided a steadying presence, especially as Peter Quince, but also as he sat on the steps just to my right for his final 5-minute portion. I worried if he was feeling OK at first, before seeing how he had a unique place outside of the three couples (even though there are only 6 total performers!) brought together in the conclusion. After all, he needed to wrap things with Puck.\r\n\r\nFor others who attended - did you memorize your lines of dialogue? I'll admit, I cheated with a study aid. ;-)\r\n\r\nLooking forward to the next Breakneck, Tim... I hear that Titus Andronicus is a real hoot! ",
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"ReviewText": "I was drawn into this production for so many reasons - the costumes, dance sequences, artful ensemble work were all sublime. The interplay of these elements creates a potent, moody atmosphere where distrust, conspiracy, and loss are always present. As conflict boils and bubbles up, the actors deliver strong, memorable performances. Watching BRUTUS unfold at Theatre in the Round is a spectacle to behold, and left me feeling energized by the bold work by these great artists! ",
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"ReviewTitle": "Wait. They only had a 3 hr tech?!?",
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"ReviewTitle": "Loved it",
"ReviewText": "I loved this show. Affecting arrangements, wonderful performers. In Takata’s original arrangements of both lyrics and text from a selection of plays (Sunday’s performance included As You Like It, Hamlet, The Merchant of Venice, and Othello), he confronts a problem I’ve often noticed in Shakespeare productions: that the spots where the production team struggles to figure out what to do with a Shakespeare musical interlude are almost always some of the most awful and awkward parts of the show (someone throws a guitar at the one cast member who said he knew how to play it; another wispy-voiced cast member warbles an odd tuneless melody while the audience squirms and prays it will be over quickly, etc.). Takata makes the case for using these musical interludes to not only draw an audience to a show (a catchy and evocative song written by a real composer and performed by professional musicians can powerfully express both the dramatic content of the play and the flavor of a production when included in a promo video), but to emphasize particular moments and relationships that might pass by too quickly if they’re staged in the usual way, such as the friendships and bonds between the female characters in the plays. One of Takata’s haunting settings of the “Willow” song in Othello is the best I’ve ever heard, and I love the idea of setting to music Puck’s final monologue to the audience in A Midsummer Night’s Dream. Highly recommended. ",
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"ReviewTitle": "Interesting, but problematic",
"ReviewText": "Takata is clearly a talented composer who sets Shakespeare's lyrics well, but there wasn't enough variety in the music. The night I saw it, almost all the songs were Mock Tudor or classical art songs, leavened only by one jazz song and one power-pop ballad. More annoying was that fact that there was far too much explanation (please, a few sentences of context about its place in the play, but no more) and the explanation was usually given by Takata while the singer was standing in back of him, waiting to sing (SO awkward). On top of it all, at the end of the show, he did not name the singers and let them take a bow. I'm sure they were working for very little money, so give them onstage credit, please!",
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"ReviewTitle": "Dilemmas. Dilemmas? Fear Not!",
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"ReviewTitle": "Intriguing and Interesting - Lovely Music",
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"ReviewText": "What a delight it was to see traveling artist Chris Davis on Sunday! Of the solo shows I’ve seen, this was refreshing as it was like watching a live stand up comedy special. A respite from the intense (but also wonderful!) personal storytelling I have seen this weekend. Chris is also an improvisor and I enjoyed how he incorporated these moments into the show. He was laid back and charming and really rolled with whatever any one suggested. Insightful and hilarious. I hope this is the beginning of seeing Chris Davis at MN Fringe regularly. (Also, I mean, I could talk about butter anytime, so bonus content star.) ",
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"ReviewText": "A tough review to write: we were intrigued by Les's preview. This looked intereting!\r\n\r\nAnd it was interesting. We were engaged through the entire show. Engaged, but confused!\r\n\r\nIt appeared as though this were a \"work in progress'. You might want to consider adding a projector and project the family tree so we can keep everyone'straight' (sorry); you can also use this to show us the pictures of you and your cousins (hard to see from even half way back in the Thrust theater). And the transitions between the two stories were sometime hard to follow .... not impossible, but harder than they could be.\r\n\r\nNone-the-less, it is an awesome story and recommended to all with even a small interest in the power of genetic geneology!",
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"ReviewTitle": "The mysteries of family connections",
"ReviewText": "Les Kurkendaal-Barrett is a glorious gift to the Fringe (and the world). His warm, witty stories always pull us into the rich details of a given subject and explore important subjects in a fascinating way. This time the subject is Les himself, and his search for a biological family he never really knew. He manages to find and visit his mysterious 99-year-old grandfather, and along the way, uncovers a lot of truths about families chosen and not chosen. Half a point taken off because if I wasn't in the second row, I never would have seen the visual material. I feel sorry for those in the back. But that's a quibble. See this show -- you'll laugh and feel better about the world.",
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"ReviewText": "I never miss a Les show; he’s a gifted storyteller/solo performer and his newest show is up to his high standards. This was a riveting show that opened doors for me in places in my heart. Only suggestion, as another reviewer said, project the photos on a screen to help the audience keep everything straight. See it before Les heads back to LA. ",
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"ReviewTitle": "The Genealogist in me loves this story",
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"ReviewTitle": "Les does it again, with even more heart!",
"ReviewText": "If you are one of the many, many Les fans in MN, you won't be disappointed. Les has the same causual, seemingly off-the-cuff style. (But don't be fooled, this show is well-rehearsed.) Les weaves together two different stories in a way that kept me wondering amd waiting to hear what happened next. I did get a little lost in some of the family relations, but it really didn't matter. The show is solid - probably my favorite of any of Les's shows I have seen. His artistry shines. He will have you booing (along with him), cheering, and caring about geneology. ",
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"ReviewText": "I love genealogy stuff. I find it absolutely fascinating, not only about myself, but about others. (I have been known to watch “Finding My Roots” on PBS.) I have found myself going down rabbit holes of ancestor names till 3am more times than I can count. So of course I was down for Les’ show. I happen to be a Facebook friend of Les, and I saw when this saga began! Which honestly, really added to my excitement of seeing this show. What a wild, funny, beautiful journey that leads to a universal truth. Les has a unique storytelling style all his own that keeps me, and others, coming back for more.",
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"ReviewTitle": "We Got A Bonus Pink Panther!",
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"ReviewText": "This play was obviously done with a lot of respect and reverence for John Barryman, a local legend that people speak of woefully little. But then, narcissists who cannot overcome addictions don't make for very sympathetic characters.\r\n I know the premise was to illustrate the relationship through the letters, but having the characters on opposite sides of the stage, while the third took center and just relayed information made for very, VERY stagnant blocking pacing. I wish that it had been more like the last 15 minutes when the characters actually all interacted with one another. THAT'S where drama and conflict comes from. Not from information, but from interaction. I would like to see it again maybe with some workshopping.",
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"ReviewText": "I knew few details of the life of Berryman prior to seeing Mother Dearest. The play had a very interesting and effective minimalist approach to staging and set design. Using mostly dialog from a series of letters between Berryman and his Mother, the play chronicles the triumphant and tragic aspects of Berryman’s life. It left me wanting to visit the archives for more. I greatly enjoyed this play.",
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"ReviewTitle": "Sympathies for the wife",
"ReviewText": "As a newcomer to any of John Berryman's legacy, and watching this show on Thurs at 10pm, I came away feeling saddened for Berryman's wife as a person who became wrapped up in the at-first mundane yet quickly spiraling conditions of his husband and mother-in-law. It was a bit of a challenge to keep up with the ongoing ups-and-downs between John and his mother as stories were read off of letters without much time for the imagination to map out each letter's story. \r\n\r\nThe interactions between characters during this letter-reading phase was done well enough for me to feel like each character had some ability to move the dates and events forward. The plot becomes easier for me to keep up with once all three characters are sharing the same room, addressing each other face-to-face. \r\n\r\nEach character was performed with convincing enough quirks and steadiness to keep me engaged with the rhythm of the dialogue, even if I wasn't always retaining every detail. \r\n\r\nOverall, it's a worthwhile dramatization of an esteemed scholar corresponding with a maternal figure whose life is removed from the daily academic pressures that built a dark cloud over John Berryman that could not be felt by the women closest to him, yet impacted them nonetheless.\r\n\r\nView time: Thurs 10pm, 8/10\r\n\r\nReviewed by Tri, performer in Coyfish",
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"ReviewTitle": "Most solid experimental work I've seen in years.",
"ReviewText": "Excellent work whether you agree with the political/philosophical themes or not. They were real and made clear use of mixed media (spoken word, movement, music, visual abstractions).\r\nWhile I would have liked to see the musicians more clearly incorporated into the message, I thought they added effective tone to the other elements. Not too loud! Just Strong!\r\nThis is a great Fringe production. Go see it.",
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"ReviewTitle": "Great experience",
"ReviewText": "The atmosphere as you walk in sets the tone of an unforgettable performance. The soundtrack was immaculate. If there was a way for me to listen to it again on my own time, I would take that chance immediately.\r\n\r\nAt the performance I went to, the audio balance between the microphones and the instruments was off. At some points, it would be difficult to hear what lyrics were being sung. It doesn’t seem difficult to correct this common mistake, so I didn’t mind.\r\n\r\nIt is the kind of performance that will really make you think. Performances like this are definitely the kind to make an impact on the audience. Everything seemed to have a purpose and a deeper meaning behind it. All of it was related to the theme of the performance: the struggles that workers face when trying to unionize.\r\n\r\nThis play hit home for me. My mom and many of the teachers I had in K-12 went on strike about a year and a half ago. I had a first hand experience of the hardships that these workers go through.",
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"ReviewTitle": "You Don't Have to Be Nice to Your Boss",
"ReviewText": "This show is frickin' cool - the dancers move in a sort of clockwork fashion, or like an assembly line, that's perfect for a show about workplaces and unionizing. The punk band in the back is really punchy. There's a great bit where they simulate one of those creepy corporate anti-unionizing videos. I was lucky enough to see a woman who's been working to help establish various unions for 20+ years approach one of the performers outside the theater and tell them how much this show meant to them. Just really cool stuff",
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"ReviewTitle": "Bravo to this “I know me” artist!",
"ReviewText": "This is from seeing show #5. In one sentence: there is nothing more comforting and charming than watching a show dedicated to the joy and confidence surrounding who you are and what you can bring to the table (and in case, the canvas). In three sentences: if you enjoy the movie Napoleon Dynamite, comedian Dmitri Martin, the musical “Oh Hello,” and/or the TV show Mister Rogers Neighborhood, this show is a perfect fit. As a consumer of all four, my palate for entertainment and authenticity was satiated, as you witness a first-time solo show Fringer that won over support across many generations with her playful designs and quirky personality. I look forward to the day when watching her future work, knowing she’s become a cultural staple as DOLLY and helped inspire next generations to give things a try and simply be themselves.",
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"ReviewText": "“Dolly Who?” is a amazing master class in creative improv. A show full of energy, cartoon characters, belly laughs, and heart felt moments… by the time it’s over you don’t want it to end. The theme is reminiscent of the nostalgic flavors of “Mr. Roger’s Neighborhood,” only, Dolly iterates that her version of this type of show doesn’t technically exist yet. She then proceeds to take the audience on an unexpected, magical journey in creating a new “episode” each night. This is an absolute must see at Fringe Fest. Dolly is a charismatic force of nature that will have you leaving the theatre with a smile embedded in your heart.",
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"ReviewTitle": "A Condensed Version of the Movie+++",
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"ReviewText": "Funny? Yes! But not dumb fun. A Dry wit permeates this entire show and between belly laughs the gleeful smile never left my face. Lots of tech that was very skillfully handled. A Fargo presentation the Coens would love. ",
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"ReviewText": "HUGE cast for a Fringe \"play\" where staging can be a challenge with optimal rehearsal time and stage space. First to the overall production for streamlining \"Fargo\" into a 60-minute show. Props to the Melchoirs for their lead roles as Marge and Jerry - but I especially liked Jeffrey's \"Carl\" for reallyyy channeling Steve Buscemi! The whole cast and crew were spot-on, and although the headlights were a bit bright in the eyes of rows 1-3 in the Middle, those car props were excellent, as was the clever depiction of wood chipper blood. I do have a small negative, which I think I've rationalized - the constant shuffling of stage boxes amidst really fast scene vignettes, got distracting, but it seemed that establishing where certain scenes like Marge and Norm in bed, or them having breakfast, versus where cars were being driven, necessitated the movement. Nice work, Fargo cast and crew!",
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"ReviewText": "If you are low on spoons and can only make it to one show this Fringe, make sure it’s this one! Fire In My Veins made me feel so seen as a chronically ill, disabled individual. I absolutely cackled at the parts that were incredibly relatable, I cried listening to Allison talk about experiences that reflected my own (experiences often overlooked by society), and I loved her description of the \"before\" and \"after\" of being chronically ill. Allison’s awareness of the impact her show has on her peers was evident, as she was waiting for me and my tears at the end of the show with two big hugs. Her consideration in seeking my consent before giving me those hugs was another hug in itself. I felt so validated by her bravery in discussing the unique experience of those of us who were already chronically ill before the onset of the COVID pandemic. Within our community, there was a lot of bitterness and trauma brought up by the way that the nondisabled suddenly made the world accessible in ways that had been advocated for in the past, and witnessing the regression over the past two years to make it inaccessible again redoubled those feelings. I appreciate the discomfort felt by nondisabled audience members upon hearing Allison speak our truth. For many of us with chronic illness, the COVID pandemic simply exposed the rest of the world to the way we always live. I encourage those who feel offended to reflect on the value of hearing our experiences voiced. I encourage you to consider the fact that chronically ill and disabled audience members rejoice at hearing her voice our experience, and to consider what it would be like if the conditions of the pandemic never stopped. That is the point. That is why Alison includes it, and I hope you can use that discomfort to grow in your intersectional understanding of marginalized communities. ",
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"ReviewText": "We were on the fence about seeing this, but Allison's storytelling chops and awards and her preview put this on our 'see' list. I'll note that we started on the wrong foot, since my sister and I are Fringers who start on our schedule on 1 July and optimize it until the last day of Fringe every year. So we were pretty surprised when we were told this was going to be a 90-minute show \"because IP shows are allowed to do that.\" Wow, kinda messed with our day's schedule (I'll concede that was included on the web site, but only on the More Info page). Then there was the 'Strike Crowd\" attending each others' shows, laughing loudly,and not feeling very welcoming to us outsiders in many ways.\r\nBut we do want to comment on Allison and her show. Allison's storytelling was excellent, though we typically stay away from the \"illness (invisible or not) has upset my life plan and it isn't fair\" stories and appreciate those stories that eventually find a journey through the sadness and pain (and, frankly, the spoons didn't do it for us). \r\nWithout the \"Strike issues,\" this would have been a 4, but as Allison has a strong connection with Strike, we'll knock it to a 3.5",
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"ReviewTitle": " A psycho-meta-marvel.",
"ReviewText": "This review is from seeing show #3. In one sentence: through no-waste comedy and drama, even you couldn’t figure out how to float when life feels like an ever-lasting strain. In three sentences: psycho thriller and/or meta-theatre fans, this is required Fringe attendance. This two Fringer team dominates decision making and pace at an expert level, pouring your mind into the type of chamber the show title boasts. No matter how high or low the plot’s tide, get ready to try and float.",
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"ReviewTitle": "Jewish Mother Are Like Many Others!",
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"ReviewText": "I was so impressed by this show. In most of the Fringe 'solo' shows I've seen, the actor plays themself, but Juliana Frick was a tour-de-force in her portrayal of Myra. The character has depth and I found myself feeling more compassion for my own mother after watching this. In addition to the acting, I loved the writing and sound design, and there's a lot of symbolism in the visual imagery that kept me reflecting days after the show. In the end, the theme that stayed with me was \"liberation\" - what it means to try to achieve it, and what it takes to actually get there.",
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"ReviewText": "Shows like this can often feel like they're preaching to the converted as the arts community tends to lean politically liberal, and this one was maybe 60% that, but it's still often important to provide the information to anyone who may be stepping outside of their comfort zone and challenging those in the audience who otherwise aren't seeking out content on reproductive justice. It was, let's say, interesting to learn about different methods of home abortion that desperate people have resorted to when needing to terminate a pregnancy. The two actors were skilled and had believable chemistry as close friends, but among the many lessons they teach us, the final one ought to have been: do not have sex with men who won't buy you tampons when you're menstruating, an infraction that Tyler (or Kyle? I don't remember the boyfriend's name) was mentioned to have committed. Moments of comic relief broke tension, but I think it would have been alright to let us sit with those moments of discomfort a bit more - it's okay, maybe even good and preferable, for art to make us uncomfortable. I appreciated that numerous resources were provided in the program. ",
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"ReviewText": "What a wonderful piece. The fears that these two women experience are so important, and it's wonderful that they're being communicated like this. The performers have incredible chemistry, and play off each other expertly. ",
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"ReviewText": "This show presents important information about where our government is trending in terms of abortion access. The writing is smart, the direction is amazing and the cast and crew are wildly talented. I believe this show accurately depicts the future for women if we don’t advocate for accessible and safe abortions for all. ABORTION IS HEALTHCARE!",
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"ReviewText": "This play takes place in a not-too-distant future where abortions are illegal, listening devices are everywhere, and birth control is available to only a few people. I am glad to live in Minnesota where health care for women is still legal. This reminded me of the book The Handmaid's Tale (less singing than the opera and I haven't seen the tv show so can't compare.)\r\n\r\nIt was unsettling that women ( and men and others) who knew medicinal properties of herbs were burned or drowned as witches, and knowledge was lost. There was more herbal knowledge than abortifacients-only. For some people it is better to lose knowledge than it is to know how to prevent or end a pregnancy even at the cost of a woman's life.\r\n\r\nThe methods depicted in the show are not safe to try at home!",
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"ReviewText": "Scarily familiar, but still funny and heartwarming where it needs to be. Bit at the end felt a bit preachy and unnecessary to me, but if someone who is anti-abortion managed to stumble into this show and stay till the end, I see why it would be necessary. ",
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"ReviewTitle": "A Must See if you care about Womens rights!!",
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"ReviewText": "This is from seeing show #5. In one sentence: a steady, fast-paced tempo in script pacing made for an exhausting experience on a bravely and creatively told social justice topic. In three sentences: social justice theatre always deserves a place on stage, helping people unite or challenge narratives of what people know and don’t know about taboo issues. The two Fringers seemed to emphasize pace and information sharing over listening to each other as re-enactors, causing me to often struggle to listen points being made in both fiction and non-fiction realms created. But this show has fairly informative notes, most worthy at the end to address what we really need to progress to so we can be called one day actually be known as “United States of America.\"",
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"ReviewTitle": "I Met Helena at Fringe Central. Loved Gilda!",
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"ReviewText": "While I didn't grow up watching Gilda, I saw the most recent documentary about her life a few years ago and have been pretty obsessed ever since. As soon as I saw the title for this show I knew I had to see it, and it did not disappoint. You can tell the creator/performer has so much love and respect for the subject matter and it just shines through her lovely work. The interspersing of some of Gilda's most famous characters and songs throughout the storytelling was so well done. I also loved that the show didn't end on a sad note but kept us laughing, which is exactly what Gilda would have wanted. Regardless of how you feel about Gilda, this is a show to add to your list. PS: My favorite moment may have been the music over the curtain call, which was a clever throwback to a moment in the show. That's the kind of thoughtful storytelling I live for and it left me smiling and singing as we left the theater. Bravo. ",
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"ReviewText": "Great idea. I love supporting traveling artists, but…. I had to leave the show. I sustained Traumatic Brain Injuries and sometimes suffer from sensory overload of lights, sounds, smells and more. FLASHING LIGHTS, like those seen here are often used as side lighting, especially for dance, and they can have a strobe like effect with changing colors. Solutions: wear visor, dark glassed, black sleep mask, duck and hide for just the beginning. SOUND CUES: Auditory discrimination deficit is the inability to balance background and foreground sound that is supposed to be central to attention. The cricket cues were piercing, brain scrambling, way to loud, and much too long! Suggestions: introduce sound cue and then bring down the volume once the scene is established, unfortunately earplugs also dampen the performer. Because I am OUT with a TBI, I have been hearing from others, with and without disabilities, that this has been a recurring problem this year in many venues. Performers and technicians, please be aware: Are you being inclusive of people with neurological disabilities? Are performers being drowned out unnecessarily and maybe unintentionally by sound, because each venue only has access to two mics? Please be aware of people with various disabilities. I hate walking out on a show. \r\n",
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"ReviewText": "This show is funny with great actors, great timing, lots of Keanu impressions, and thousands of nerf bullets. And all that was very entertaining, and if that's ALL this show was, it would be a ton of fun! But what Tim does here goes well beyond that. His inserting himself and constantly breaking the 4th wall isn't JUST to move the story forward (tho there is much of that... 4 movies in 45 minutes, after all). Instead, those moments allow Tim to critically analyze the films... And then himself and how he (we) look at these films... And how and why he (we) cheer for characters, both on screen and off. It's still incredibly funny, but it's a much more thoughtful experience than I was anticipating... And the show is all the better for it!",
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"ReviewTitle": "Fantastic acting: Push yourself and attend",
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"ReviewText": "Can confirm that this show was originally written for four actors, one of whom was supposed to be a Blues guitarist who sang a song. (So much for musical). My guess is that he could not get anyone else to act in this show. The point, of course, is not whether or not the show description is accurate, but whether it is worth seeing. The producer obviously has an axe to grind with the #MeToo movement, if you too are concerned with the harsh mistreatment of middle-class white males in this country, then this is the show for you. ",
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"ReviewText": "I’m ignoring my mothers advice about “if you can’t say something good, don’t say it. The actor was ok but the show stunk. Might be the worst Fringe production I’ve ever seen in many years of attending. The show did not match the abstract description in anyway except for “me too” dialogue. Complete trash. If the producers want to make a charitable contribution to the local food shelf for my $19 dollars as a refund that would be great.",
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"ReviewText": "A diatribe monolog from the Right making fun of #MeToo. So, I knew where I was supposed to laugh. It was not a musical as described because there was no music either live or recorded.\r\nThe performance was acceptable, but just in really poor taste.",
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"ReviewTitle": "My girlfriend will never let me pick another show ",
"ReviewText": "So first, I saw the postcard that said \"a musical comedy...a rocker, an architect, a veteran and an impresario join forces...\" but this is a one man show, and I'm not sure anyone could classify this as a \"musical comedy\" in terms of its style. So its description was a little confusing/misleading...if I were to see a one man show, which I typically don't want to, this wouldn't be it.\r\n\r\nI hate giving one star, because I hate the idea of someone putting their soul into creating something and someone like me coming and shitting on it because they don't get it. So I didn't do that. This is I am fairly sure the show I liked least in the 12 years I've gone to fringe shows. It really was just a one man show. I don't want to give away too much, in case you do go see it, against my advice and the advice of the two other reviewers (and there were only 16-ish people at it, and it was the first showing, so I was there with you guys), but it is a bit of a stereotypical diatribe from an \"anti-woke\" perspective, but it includes a lot of tangents that seem to have nothing to do with the real story, as well as a lot of repetition of facts that had been recited already. \r\n\r\nTo me, it was almost as if someone dared themselves to do a fringe show but not create it in advance and do it stream of consciousness. Except that at times he seemed to miss a line or something and go back and correct himself, which isn't indicative of making something up on the fly. But it had that feel to it. \r\n\r\nYou've been warned...if you're a masochist, go for it. ",
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"ReviewText": "This is from seeing show #4. In one sentence: theaters should have stages to discuss extreme controversy through art, but that fails fast when done solo and not pushing hard enough satire or seriousness, ignoring the chance to debate, illustrate, and explore touchy subjects properly. In three sentences: this 35-minute John Wayne-police-noir-music-and-preacher-touring-cowboy monologue tanked in its effort to bring voice to the macho fragility of #MeToo movement haters. This seemed to boil down to the Fringer who desperately needed a cast, a script, a director, a set, and a band to pull their vision to a story that could be summarized and digestible for their attending audiences. 0 kitties to .5 kitties merit no show created or a show with mumbled and constantly forgetful re-enactors, so hopefully 1 kitty teaches the lesson of folks coming to theaters to be challenged in some way, not listen to a half-scripted, half-improvised sermon.",
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"ReviewTitle": "i don’t know where to start",
"ReviewText": "so much bad, and confusing, i lost my way. it was delivered so fast, without breaks, and the lines were flubbed, so it was hard to follow. the premise itself is ridiculous. you don’t get put on a no fly list for grabbing women. nearly no one actually loses anything for harming women. you def wouldn’t be made to clean bathrooms as restitution. one of the characters starts endorsing pedophelia, from what i was able to put together. he was crude just to be shocking, but we live in the time of the interwebberries, try again. at some points, i just lost focus because i was bored. AND IT ONLY LASTED 30 MINUTES. can you imagine spending $19, then being ripped off by a 30 minute show? if this was supposed to be satire, you may want to enroll in classes at BNW. ",
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"ReviewText": "I've never written a show review before, though I have traveled to Minneapolis for 10+ years specifically for Fringe\r\n\r\nI checked out Kill Me, Too reviews yesterday, and I am finally driven to comment on a few things. Yes, the show made me twitchy, but doesn't art have that privilege? I left Ervin's show and walked over to The Corner Bar to watch my beloved Mariners win their fourth in a row against the Angels and take a look at the show description one more time. My 'after the fact' insights after reading comments previous comments and the description one more time: 1) Ervin's Genre and Content section includes adult language, crude humor (yup, to put it mildly), sexual content, and other divisive contnet (again, to put it mildly); 2) The description notes that it is in the Brechtian tradition. I had to look that up, but Brecht \"developed the drama as a social and ideological forum for leftist causes,\" he \"did not seek to make his audience believe in the presence of the characters on the stage but instead make it realize that what it sees on the stage is merely an account of past events\"; 3) Ervin's previous artistics works include movies that run the gamut from cocaine-porno frolics to sex road comedies; 4) Musical comedy? OK, I'll give the other reviews a bye on that, there was no music, but also Brecht was just a lyricist, remember Weill wrote the lyrics to Threepenny Opera!\r\n\r\nMy lesson learned: read the show description carefully and make sure you are up for what it promises. As my rating indicates, it was my 'after the show' reading that really helped me appreciate Ervin's show and his artistry. BRAVO Minneapolis Fringe!",
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"ReviewTitle": "Made it look easy",
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"ReviewTitle": "The Show I Didn’t Know I Needed",
"ReviewText": "Improv is not my thing - I get terrible secondhand embarrassment, which often manifests in mediocre improv shows - but I enjoyed the heck out of this show. The two leads have wonderful chemistry, and it’s clear how much experience they have and how much trust they have in each other. It’s clear the producer character isn’t quite on their level in terms of improv experience, but they had a few shining moments. If I had time, I’d love to return to this show to see what other wacky adventures these two could get into (RIP Herbert/Hubert).",
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"ReviewTitle": "a nice satire",
"ReviewText": "saw this show because I have previously seen shows Heather Meyer is in. she continues to do the 'dour, deadpan' thing well. it was a nice satire of podcasts. the 'tangled cord' bit didn't do anything for me, but otherwise I liked this show. capping this year's Fringe Festival with a silly show like this one works for me. ",
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"ReviewTitle": "Car stuff",
"ReviewText": "Danna and Heather are two top-notch improvisers that clearly have a love for podcasts. One thing I love to see on stage with improv is when the performers obviously love each other and the ridiculous choices being made. The show also does an excellent job of bringing the audience along for the ride--something a lot of improv shows forget to do. Just a fun, ridiculous show that I strongly recommend.",
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"ReviewTitle": "Let Me Say This About “Let Me Say This About That”",
"ReviewText": "First off, I love this improv format. I haven’t seen anything like it. Timely and inventive. Second, I love these performers. Heather and Danna have CHEMISTRY. This is my first time seeing Raffi and they are so charming. Third, stars aligned at today’s show. There was an audience suggestions of a Spooky Stories podcast . Heather had in Fringe storage (not on stage!!!) a just-in-case light up Halloween mask! So she grabbed it from storage and made it a part of the scene! Magic! \r\n\r\nA favorite moment: Raffi collects potential “podcast ads” from the crowd prior to Heather and Danna coming on stage. They then put them in a hat, and inbetween podcast scenes, Danna and Heather pull suggestions from the hat and improvise an ad. Heather said something like “when I’m hungry, there’s only one thing that fills me up” she opened the suggestion and read “Ghosts”. I died. She then continued to say that ghosts are satisfying because they enter your body and you are filled up by them.\r\n\r\nAnother favorite moment, this one from Danna! Danna was talking about her current dating situation and described it simply as“I guess it’s not really dating, it’s more like car stuff”. \r\n\r\nImprovisers of this caliber are always amazing to watch. A must see! ",
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"ReviewTitle": "Goofy and confusing ",
"ReviewText": "I was unfamiliar with the original work and was confused throughout most of the performance even with a narrator and a glossary of key terms/ideas. I read the Wikipedia article on Mother Courage after the show and what the show is doing made a lot more sense and found the concept hilarious. If you are also unfamiliar with the original mother courage, I recommend googling a synopsis before seeing this show. I'm also not very familiar with care bears so maybe that knowledge would help too? I had many moments of being delightfully confused mixed in with simple bewilderment. ",
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"ReviewTitle": "A Very Clever Mash-Up",
"ReviewText": "This is the kind of show you hope to come across at MN Fringe Festival. Take two entirely diametric worlds, mesh them together, and follow-through until the end of the show. I haven't read \"Mother Courage\" since college, and the Care Bears were created after my childhood was over, but I understood and followed every last thing in this show, and it made me laugh wholeheartedly. This show really worked for me. All of the actors were great, but hats off to the actor playing the most bears; Murder Bear, Prostitute Bear, Recruitment Bear, etc.; really marvelous. That being said, my favorite bear was Sandwich Bear. While I enjoyed the Director/Brecht character, I did have a very hard time hearing him when he wasn't shouting. I was only in the fourth row, and I couldn't make out what he was saying when he was mumbling/talking low, which was most of the time. The pathos of \"Mother Courage\" set in the world of Care Bears, what more could you want!",
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"ReviewTitle": "🐻 🌈 💜 ",
"ReviewText": "I think Clevername Theater are the smartest people making theater in the Twin Cities. They excel at silly gags in cerebral shows. Connecting Brecht and the Care Bears around the use of allegory was brilliant. I’m not sure I quite got the Internet part.",
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"ReviewTitle": "Be prepared to have your childhood ruined",
"ReviewText": "As an avid Care Bears viewer as a child, the play took advantage of those fond childhood memories and destroyed them one cloud of cotton stuffing at a time (to great comedic effect.) The well-rounded cast all committed to the absurdity which made for a worthy Sunday evening experience.",
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"ReviewTitle": "You will argue about Brecht after this show.",
"ReviewText": "So please, make sure your relationships are in a solid place :-D. That said, I LOVED the show. I thought it was funny and thoughtful and smart, and I'm really impressed by how grounded the actors remained even when the words got silly. ",
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"ReviewText": "First off, the actors really make the piece. Truly, I was surprised how much I liked them, and I think Clevername managed to find some of the best comedic actors for this show (in particular, I loved Hubris & Sandwich Bear). However, I struggled with the actual writing of the show. I was confused with what the allegories/parallels were being drawn, as it just felt like the writer didn't really care for Brecht's original Mother Courage. What was a story about profiting off the war & how it's just as bad as being IN the war turned into...maybe something about social media? I wasn't quite clear on what they were trying to say with it (which I think is a mistake, considering the original piece is inherently tied to politics). The writing threw me, and I was incredibly confused as to what meant what. Despite the confusing writing, I thought the direction and actors did the absolute best they could with it. I did find myself laughing a few times, and appreciated clever staging to depict deaths. I'd go to support those elements, just try not to think too much about what the writing/new Care Bear elements mean.",
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"ReviewText": "This show was very fun and the cast were excellent singers! The content seemed contrived at parts, but for the most part the talent of the cast outshined it. There were a few gay jokes that I thought were not in the best taste (do we really need to laugh at gay folks?) and one I thought was pretty ballsy to include in a family friendly show. The sets were fun and having a live pianist accompany the show was an excellent detail! If you love fantasy musicals, this one’s for you. ",
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"ReviewText": "I went into this show expecting a fun story about the side characters in video games & RPGs. A look into the world of the people whose entire existence is a plot device. However, what I saw was a deeply vulnerable and personal story about overcoming fear, dealing with horrible bosses, and appreciating the power & talents of “ordinary” people.\r\n\r\nI cannot applaud Motz enough for this show. It is so delightfully, refreshingly original and fun.\r\n\r\nThis is storytelling at its finest!",
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"ReviewText": "Having not seen Paper Soul's previous show, there was some context that I missed out on. However, I feel like I could fill in the gaps for the most part. Funny intro with playing the standard NPC character and breaking the fourth wall. I got a little confused as it broke into personal anecdotes and how those related to the NPC story, but was brought a bit more on track with it at the end. I like the idea behind the message, but wish that the presentation of it was more cohesive/planned. I would love to give credit to perseverance to make art in the face of many different road blocks - including yourself. And along with that, having the self awareness and vulnerability to share it. Overall, the audience was packed and seemed to relate well to the stories of adventure being told to them. ",
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"ReviewTitle": "A Must-See Fringe Show!",
"ReviewText": "It’s hard to deny Motz’s humor and charm. The show starts with him already on stage, simply standing, and you immediately enjoy his presence. As soon as he portrays the titular “NPC” there are screams of laughter in the audience. It continues rolling through as we enjoy what is being built; a delightful premise that holds up with the added strength of the writer/performer. As the story moves on—and we move on from this NPC—we see Motz. A wonderful human with stories that ask us to reflect upon our own individuality. Is this a deep review? Well, this is a deep show that made me think about myself, the delicacy of my individual human experience, and the beauty in the artists around me. That alone makes this a must-see fringe show. \r\nI had the pleasure of enjoying Motz’s show from last year, but this performance doesn’t require viewing the prequel. This show was a full experience, from start to finish, full of warmth and laughter. I will always enjoy Motz and his storytelling! ",
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"ReviewText": "I like Motz's work but am not a gamer, so I was on the fence about seeing this, but am glad I did. His storytelling is compelling, and I was engaged throughout. Coming from a senior citizen who had seen 2 other shows that day, plus performing in one, that is saying a lot! Way to go!",
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"ReviewText": "Charming company and lovely costumes, and I was very happy to hear the poetry, which was presented in an accessible and unfussy style by the company of actors. I enjoyed this to start off with, but once we had learned the basics about the poems and their translator, the show became a compendium of lists: lists of illustrations, of commercial products with Khayyam tie-ins, and of restaurants and hotels that were named after him. There was a nice moment when the translator Edward Fitzgerald thanked the fan club for a gesture his readers made in his honor after he died (there's some time distortion going on here); I would have liked more like that--more dialogue across time between the poet, translator, and readers--and less about the Rubaiyyat Restaurant in Iowa, or repeatedly brushing off the critiques of Fitzgerald's translations.",
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"ReviewText": "Scot Froelich, has a message, and it is one you ( and or more specifically the men in your life) must hear. Acerbic one moment then entirely amiable the next, this person has lovingly crafted a show with charts and figures that in my mind would be a welcome addition on any international stage. The equivalent of a most welcome and contemplative Ted Talk . The show's irrefutable content ( not to be spoiled here) is a much needed wake up call to our own personal and interpersonal daily interactions. This human,never fails to deliver with a successful repetiore of Fringe productions ,(Aging) proves Froelich is evergreen, a consument proffesional whose self effacing vulnerability utilizes the fringe platform decisively and most effectively as a clarion call insighting us all to be a little kinder and a just a little better than we were the day before for the betterment of all...what a wonderful legacy...thank you for your story.",
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"ReviewTitle": "Neigh-sayers Beware: A Dark Trot Through History",
"ReviewText": "Hey, you think you know the streets? You think you've seen it all? Well, lemme tell ya, 'How To Kill A Horse!' ain't just another show, capisce? It dives into the darkest alleys of American history, shedding light on a tale of fraud so twisted, it'll make your skin crawl. And lemme tell ya, that one guy, Rob Ward? Genius. Wearing all the hats, singing, acting, and laying it all out on the stage, he's the real deal. The direction by Thomas Buan? Impeccable. No holds barred, graphic, shocking, but damn fascinating. A roller-coaster, really. If you're in Minnesota, and you miss this, fuhgeddaboudit. 'Phoenix Presents' is giving us a gem with this one. Don't miss out.",
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"ReviewText": "5 kitties \"Aging In An Age of Change\"/Scot Froelich\r\nDang. Sincerely heartfelt with sciency bits to move the storytelling along. I left this show with hope that we all can change to become better humans.\r\n4 kitties \"Slices\"/Brian Watson-Jones\r\nThis was horribly, deliciously, wonderfully visceral horror. Cate Jackson and H Jo Raiter did gorgeous work. I got knocked out of the impressive storytelling with some scripts being on the stage. \r\n4.5 kitties \"How to Kill a Horse\"/Rob Ward\r\nAs others have noted, this is a quintessential Fringey show. A bit of a content warning for those interested in the show, I think a picture of a dead horse (it's not graphic) is shown as part of the media? It's not super obvious that the horse may be dead, (and I know that this is a show about killing horses, yes) but just a warning in case the image may trouble audience members.",
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"ReviewText": "I absolutely loved this show. He does an incredible job. The songs are great, the dance moves are perfection. I laughed so hard my stomach hurt. It was also very interesting. I never knew I never knew so little about how to kill a horse. I wish this was continuing after Fringe. I hope does more shows in this style in the future!\r\n",
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"ReviewTitle": "How to Kill a Horse (You Really Learn!)",
"ReviewText": "This is such an ambitious solo show and, as was the consensus of the group of friends I saw it with, it is so Fringey. My strategy this year seems to be (so far) see the weird stuff first. You should too, because it's the weird stuff that picks up momentum and becomes harder and harder to pack into your schedule if you're one of the spreadsheet girlies (or fellas or nonbinary buddies). How to Kill a Horse has everything: song and dance; mime; a Barbie (how timely!) and what appeared to be old WWE Attitude Era wrestling figures?; karaoke; a jump scare that possibly only actually scared me; dressage AND costume changes; and indeed a lesson on how to kill a horse with audience participation and a prize (valued at $3ish dollars is my estimate). There's a ton of information, plenty of which is depressing and some of which is very dry tax law, but Rob found a way to add some much needed moments of levity among talk of some of the more depraved acts of humanity. The powerpoint slides were informative and the tech really added a lot of production value. I also love that the Phoenix has a big comfy lobby and a huge variety of beverage and snack options. It's worth making the trek over for this show! Heed the content warnings, which are also reiterated at the top. RESUBMITTING TO ADD: I also want to disclose that I know Rob and he’s a friend. ",
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"ReviewTitle": "Another Stellar Show from a Great Storyteller ",
"ReviewText": "**Review for Aging in an Age of Change** \r\nI've been lucky enough to catch many of Scot's previous Fringe performances, and this might just be the best one yet. Funny, informative, and moving, it's a beautiful rumination on aging and how we can (and should) continue to challenge ourselves and our ideas as we get older. While the subject matter may be especially geared towards men of a certain age, I still found many take aways and good reminders for myself. Like all of Scot's work, this show is thoughtful and well-crafted, but also important, and I highly recommend you make the time to go see it. ",
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"ReviewText": "I mostly don't do reviews any longer --- it seems like they're all 5 stars. But our reactions to two of the three Phoenix Presents shows differ from the mainstream. First, 'Slices' has gotten no reviews, which means no one likes it. Well, we liked it a lot --- probably 4.5 kitties worth. Four darkly humorous stories, each worth seeing. Then there is the universally lauded 'Aging in an Age of Change'. This we didn't care for at all, maybe 1 star for competent delivery -- easily the worst of the 16 shows we've seen this year. The style is that of a self-help motivational speaker; the tone is patronizing. And so on. If we could have snuck out, we would have.",
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"ReviewTitle": "So much talent in one spot",
"ReviewText": "How to Kill a Horse - Rob Ward's brilliant true crime thriller dark comedy is so well put together it's astonishing. From the great script to the brilliant sound design to the disturbing/funny/informative video display, the show is so well planned that it grabs the viewer from the beginning to end. But the best part of the show is Rob's energetic, passionate, angry, dynamic performance. Highly recommended.\r\n\r\nAging in Age of Change - Scot Froelich's work is always thoughtful and thought-provoking, well researched yet deeply personal. His reflections on growth, learning, and dealing with a changing world are inspiring and moving. This show is more of a lecture than a theatre piece, but that doesn't make it any less timely or relevant. If you like to think, this is the show for you.\r\n\r\nSlices - Horror is always a difficult genre to stage, and approaching it from the standpoint of four solo artists is a brave choice. Two were memorized and two were not, and it's not surprising that the two that were delivered without scripts were the more successful scenes. But all were different moods with a variety of topics - two about parental love, one about abandonment, and one dealing with blood sacrifice. \r\n\r\nCongrats to all!",
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"ReviewText": "FANTASTIC SHOW! The best written fringe show I saw this year.Its funny and heart breaking all at the same time. Under the circumstances Alex Church gives a phenomenal performance with the little prep time he had. Im begging, pleading, ON MY HANDS AND KNEES, you have to see this show.",
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"ReviewText": "The show has merit but who are we to focus on - Elizabeth or her daughter? Strong contemporary topics abounded in this show. I wonder what went into the decision to cast Elizabeth - I was taken back to see the actor reading is lined from a notebook. However,the fact they are donating to Women Winning is such a great plus.",
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"ReviewText": "By the title, I mean it both in workshopping and as a show. I think this would work a lot better as a longer show, perhaps produced outside of Fringe. The acting was lovely, had a lot of great elements that I appreciated. The opening video was sharp and funny, and loved the messaging it was aiming for. However, I felt that there was a bit too much going on for the 60 minutes Fringe allows. It aimed to tackle a lot of political issues, and I think it would have been much more effective if it honed in on one or two. I also had a bit of trouble hearing the actors at times - one of those moments where the show seemed beautifully intimate, but actors needed to project a bit more, as I was straining to hear at times. I would recommend checking it out, and hopefully this takes on a new life after Fringe!",
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"ReviewText": "It is truly impressive how well explored the characters of Primary are, especially given how hefty a topic it is addressing in such a condensed amount of time. It did a particularly good job of painting how politics are not all black and white (or should I say, not all red and blue). It examines layers of conflict and corruption within the Democratic Party itself, which feels equally if not more upsetting than the blatant homophobia of the right. Additionally impressive is it’s ability to explore LGBTQ+ experiences and relationships (and their relation to the political sphere) in a way that was believable and avoided being preachy. Highly Recommend! ",
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"ReviewTitle": "Got Democracy? ",
"ReviewText": "VOTE and BUY YOUR TICKET to this profoundly impressive show now. Snappy and smart, this show embodies Lincoln's quote: 'A House Divided Against Itself Cannot Stand' in more ways than one. It somehow manages to cleverly work in an autopsy of what winning really means in our modern political system while holding space for both the unjust discrimination and heroic triumph of the LGBTQIA+ community. The writing is stellar weaving in soul-crushing moments, sick burns, and snarky bits that land oh, so damn well. (I won't ruin it, but I will be for sure using one of the smart-ass remarks as my new go-to catchphrase.) The audience was totally into this show, guffawing at one moment and audibly gasping the next. Everything is done with perfection in this production: the poster art, the promo video, and the attention to all the details. The actors are solid and believable. They leave you feeling like they all need a hug. I will never look at a family photo in a campaign ad the same way again. If you're looking for the full meal deal, this is it. And, I approve this message.",
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"ReviewTitle": "Ticking Time Bomb Family",
"ReviewText": "Alex Church really packed this court of characters, whose \"culture war\" identities are a liability for the towering stateswomen that these characters are forced to orbit and orient all their waking choices, both public and private, around. I will admit: I didn't realize the playwright, Alex Church, was not the intended actor for the matriarch role when I came into the show. I was ready to accept that this show was going take this nuclear political family's absurd pressure cooker of LGTBQ experiences and struggles to almost comical heights by having the esteemed, old guard Democrat mother be a transwomen, in light of all the other characters. Even though I eventually realized the binder Church was holding was, in fact, a script because of BTS complications that were not disclosed (to me), the characters of \"Primary\" were already such boiling barrels of queer secrets and seething disgust that I was ready for the show's universe to keep plunging me further into its vat of absurd, chemical rage. Written by Tri Vo, performer in Coyfish.",
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"ReviewText": "Who wouldn't want to invest an hour for some laughs, and grants? I laughed hard, the participants were breathing hard from their actual attempts at winning the obstacle course, everyone laughed, you got to place a vote as an audience member. Who's gonna get that monaaay?!",
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"ReviewText": "The overall idea of this show was silly and fun but when compared to some of the other productions in the festival it's hard to give a 5 kitty rating. I loved the survey monkey QR code but there were too many downside at play in the show I attended. \r\nThe Texan shark didn't maintain her accent throughout, and thus might have done better with another background story. \r\nAt the Friday night show it seemed there were some of the cast members' friends in the crowd who were competing for attention with the performers. It was actually to the point of significant distraction. The almost performative, exaggerated laughter and howling from the friend group in the back was too much to sit through. It made me want to leave- but because of the way the venue is set up, leaving would have caused more ruckus. \r\nAlso- weird twist to have a broke shark- I'm not sure this was intentional... and then the outed broke shark's dad won? The incongruity of it all broke my brain a little bit, not unlike that hobbling contestant's toe. \r\n",
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"ReviewText": "Start with the one negative - the off-putting nature of the story, played out in front of us, left one feeling very uncomfortable at its conclusion. Unlike Nissa and Sam's \"Kentucky Fried\" show last year that you left knowing you had been at a Fringe masterpiece, I started at a 7 tonight, started working into an 8 as my wife and I talked about what we'd seen - and as we looked up Morgan and Anissa's real story - and landed on a 9 by the time we got home.\r\n\r\nThe positives - I will try to go to anything Nissa's in, in the Fringe, from the aforementioned \"Kentucky Fried,\" to playing Xena's Gabrielle at Theater in the Round, and even a lovely costume piece on a mosquito-y evening in a Bloomington park. She hits a home-run here as producer, writer and actor - her 11 year old Morgan and Kayla's 11 year-old Anissa are exquisitely performed, from the voices which grabbed my attention immediately, to the akimbo-style mannerisms of girls moving into puberty. The music from Derek and Sam was stunning, fully lending to growing tension and setting the mood changes, over and over. The clever use of projected messaging drew the audience in so much more effectively than having the actors voice it all out for us. And the tale itself - so well-written - and so well-performed for us. Kudos for a great first Fringe show in our 2023 viewing season.\r\n\r\nAnd, as an aside, did anyone else connect the (I'm sure it was purely coincidental for Nissa to choose these girls' story) names of the lead characters, aNISSA and MORGAN, to the writer/star's own name Nissa Nordland Morgan? :-)",
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"ReviewText": "I saw this show at Horror Fest last year, and watching it again was fascinated to see how the girls egg each other on, in different ways. These are two vulnerable kids, who are isolated or wounded in different ways, and what starts as a potentially redemptive friendship instead veers into a deeply sad nightmare. Nissa and Kayla both portray what's lovable, or even just human, about these two weird kids, and their connection is really endearing. I appreciated the dignity they gave to these two real people, without excusing their behavior. As a fellow weird kid who read lots of creepypasta as a little guy, I even related to the characters at times. Both times I saw this show, I wanted the best for them, or I wanted someone to intervene. But there's no one to stop the distortions they nurture together from blossoming into something terrible - which is reinforced by the absence of any other characters than these two. Slenderman doesn't have to be real for this story to be haunting",
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"ReviewTitle": "excellent insight into the cost of pacifism",
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"ReviewTitle": "Left Me Hungry For More",
"ReviewText": "One might expect a certain amount of lecture in a show about a scientific study, but there was remarkably little of that in this piece. The performers playing the experiment's subjects did a fantastic job portraying the progressive changes the lack of food wrought on them and the scientists did a good job mixing the aloof quest for knowledge with humanity (though less so than their co-stars). An excellent exploration of the moral bounds of scientific inquiry. I certainly appreciated my lunch more after watching this and would certainly recommend!",
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"ReviewText": "I was hesitant to see \"Starved,\" since I thought it would be too graphic for me. I found, though, that it was psychologically graphic, but not overly physically graphic. Though I have lived in Minneapolis for over 35 years, I was not aware of this experiment. It was well told, and we especially appreciated the part at the end giving future researchers guidance for experiments of this nature. I'm still thinking about it 'the morning after.'",
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"ReviewTitle": "\"Starved\" Delivers a Powerful Punch",
"ReviewText": "\"Starved\" brings to life an astonishing chapter of history that many might have only encountered in books. While I had read about the University of Minnesota Starvation Experiment, witnessing it unfold on stage was a whole different experience. The actors delivered performances that were both gripping and heartfelt, making the audience feel every pang of hunger and every ounce of determination of those brave volunteers.\r\n\r\nRichard Chin's script, rooted in the harrowing true story of post-WWII humanitarian challenges, was brought to life by Pat O'Brien's direction in a manner that was both enlightening and visceral. The play doesn't just recount historical events; it immerses you in the emotions, the challenges, and the ethical dilemmas faced by those involved.\r\n\r\nThe visual representation of the story, juxtaposed with the actors' compelling performances, offers a raw and intimate look into human resilience and the lengths individuals will go to for the greater good. \"Starved\" is not just a retelling—it's an experience, one that resonates and lingers long after the curtains fall.\r\n\r\nA Riveting Dive into History: \"Starved\" Delivers a Powerful Punch\r\n",
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"ReviewTitle": "Wish it Could Have Been Longer!",
"ReviewText": "This show has the potential to be quite powerful. As it is, there are a lot of short scenes that don't quite leave enough time for the audience to adequately connect with the characters - something that I think is even more important than normal in a show that's got such a serious subject matter and which depicts actual historical people. I think that this could easily be twice as long. The cast slants heavily male, which is a product of the subject matter, but I'd really love to have seen all of the characters fleshed out a bit more (forgive the turn of phrase, I'm a comedian at heart). There's a huge amount of attention given to props and set pieces, even so far as having actors eating actual food which I found to be a nice touch considering that the actors eating the real food aren't portraying subjects of the experiment. Those portraying subjects subsist entirely on imaginary food. The cast did a great job of building intensity as the show progressed. There seemed to be a bit of a tech issue toward the end, but what's a Fringe show without one. I hope that more people take the opportunity to see this show, and I hope that the producers consider remounting and giving this the runtime that it deserves. NOTE: I have a friend on the cast of this show. ",
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"ReviewText": "I hadn't heard about these states before and was intrigued by the show premise. I learned a lot and the characters had a good range of acting. As mentioned in another review, I too was interested in hearing how food got reintroduced and also I was wondering how long the starvation study went on for. But I suppose any show that convinces the audience to research more is a win! ",
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"ReviewText": "Richard Chin's script is the perfect combination of historical documentary and heartfelt storytelling. The audience is treated to a history lesson you won't hear in school, along with lived in, uniformly excellent performances across the cast under Pat O'Brien's thoughtful direction. The test subjects convincingly portray the gradual impacts of the starvation experiment in ways that are surprising, upsetting, and sometimes a bit comical. I am left wanting to learn more about this fascinating experiment. Go see this show!",
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"ReviewTitle": "A Gut Punch and Heavy Show",
"ReviewText": "I'm only not giving this a 5 because I was really hoping to find out more about how folks were re-introduced to food. As someone who has had multiple eating disorders, I was intrigued by the very concept of this \r\n\r\nThat being said, I wish this was a 2 hour show! Everyone was great in this; and portrayed the emotions well. While they couldnt physically show these volunteers were starved, their physical portrayals had me believing it. \r\n\r\nI also enjoyed interrupting scenes with the case study bits from the scientists. Very nice touch! ",
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"ReviewText": "Everyone needs to see this show. Not just Fringe - everyone. At least everyone in the United States needs to see this show.\r\n\r\n“Starved” is an incredibly impactful tale that explores not just the history of a woefully dark & unexplored chapter of American history, it touches on the ethics of using what can only be described as “controlled suffering” as a means of scientific advancement, as well as shining a blinding light on the physical, mental, and emotional toll of long-term starvation.\r\n\r\nAnd it’s brutal. That should go without saying. Pretty much anything involving the phrase “UNIVERSITY [BLANK] EXPERIMENT” is almost always going to be a terrible & harrowing story. The Stanford Prison Experiment comes to mind.\r\nThis show is not for the faint of heart.\r\n\r\nSo why do I believe that everyone needs to see this show? Because starvation is still an ongoing problem on a global scale. \r\n\r\nIt is estimated that around 9 million people die of hunger & starvation on Earth annually.\r\n\r\nFun fact: did you know the United States produces enough food annually to feed the global population 1.5x over? That means with the food made here, the ENTIRETY OF HUMANITY can eat regularly for a year with enough food left over for half the planet’s population to have seconds.\r\n\r\nThis means that every death and every second of suffering due to starvation on Earth is 100% preventable. And thanks to the experiment discussed & dramatized in this show, we have a complete & detailed understanding of the effects of starvation on both the human body and the human psyche. So we know how starvation affects people…and yet the people in power allow it to continue, both domestically & globally. \r\nUnfortunately, I do not have an actionable solution to this crisis. However, there are a ton of experts & scientists that do, yet nobody with the means to enact change is listening to them. Looking at you, Elon Musk. \r\n\r\nThink about that the next time you hear about Dunkin Donuts forcing their employees to throw away all the uneaten donuts at closing.\r\n\r\nFood for thought.",
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"ReviewText": "A little slow at times but it's a great subject. I hope the creators work with MPT to film a documentary that can flesh out the details. Was the data collected used by Twin Cities cereal companies to develop formulas especially for starving populations?",
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"ReviewText": "Stunning vocals, hilarious framing devices and characters , a reminder that serfdom survival has lessons for us in similar times. The comedic timing is especially impressive. Would love to see more through-line (in a longer version) but still emotionally invested. May we all have apothecary pals to depend on! ",
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"ReviewTitle": "Silly, Entertaining and Fun!",
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"ReviewTitle": "Come For the Fun, Stay Because You Got the Plague",
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"ReviewText": "When I hear “funny medieval musical,” I expect something along the lines of Spamalot or Something Rotten, and this…wasn’t it. The first half of the show is not funny at all, so by the time the much cleverer second half rolls around, our audience wasn’t in a mood to laugh as much as we could have. A neverending whirl of slow songs kills the momentum, which is a pity - the actors are, for the most part, rather talented, even if some of the songs are a bit out of their range. My three kitties are for the actors doing their level best to muddle through - it’s clear they’re working hard, and I’d like to see this group in a show more worthy of their talents.",
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"ReviewTitle": "A Must See - The Best of Fringe",
"ReviewText": "You HAVE. To See. This. Show. \r\n **Disclaimer - this is a long review, but bear with me.** It is so very poignant. My thoughts cannot help but return to it days later. As it marinates in my mind, I find that I am even more drawn to it and can more eloquently describe the experience (I was so moved after the performance that all my words were incoherent). I don’t usually write reviews, but The Definition of Loss merits one. Needless to say, I will be seeing it again. \r\n\r\nGrief is so universal yet so personal. Ash has expertly shown the audience what their own personal journey with grief has looked like, and in doing so, has created a masterpiece where the individual audience member can feel seen in their own experiences.\r\n\r\nI commemorate the author’s authenticity and not shying away, for diving headfirst, deep into this topic. Although it’s a heavy subject matter, it’s necessary. Yet the artists keep the audience from drowning in mourning with excellently timed comedy spattered throughout the show. Some times it is a dark humor that you can’t help but cackle at, some times it is a perfect reprieve from the sorrow, some times it is just plain delightful. \r\n\r\nThe artist used many mediums which blended together seamlessly, but what stood out what the use of movement/dance in a play. I’ve seen many shows that have tried to used movement, but it ended up being distracting or unsuccessful. This is the first play I’ve seen where the blend of dance is natural, adds to the story, and accurately shows the audience what cannot be expressed in words.\r\n\r\nIf you’re looking for a cute, straightforward little story, this is not the show for you. It is abstract and I don’t think there is any other way to accurately convey one’s feelings of loss. Because grief and the experience of loss are abstract. \r\n\r\nThe house doesn’t lend itself well to theatre as many of the seats are on the same level. Even though the stage is raised, grab a seat where you can see the entirety of the stage clearly. There are lots of small details which add to the complexity that I know you would hate to miss. \r\n\r\nAll of the acting and dancing is exceptional. This is a great show inside and out with very talented artists bringing it to you. Bring tissues, an open mind, and expect catharsis. ",
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"ReviewTitle": "A Brave and Memorable Story and Performance!",
"ReviewText": "“The Definition of Loss” is a powerful and moving presentation of one person’s experience of grief. This 3-person play is definitely worth seeing, as the cast beautifully executes their roles in a convincing manner that draws the audience into the experience. Grief of any sort is a universal experience, yet very individual in its effects and expression. This play explores that theme in a way that audience members can relate to, regardless of what kind of loss they may have experienced.\r\n\r\nLoss in this play is conveyed through words, and even more so through the silence and movement of the “Also Han” character, whose dance conveyed more than words, and perhaps that which cannot even be put into words.\r\n\r\nI’m at a loss of words to say exactly what the definition of loss is, but based on this play, where there is a sort of kindly and somewhat-impish -- yet very intense -- inner version of Han that is recognized by the Mom, but not acknowledged by Han, the definition of loss would seem to include not only separation from that which is lost, but also from ourselves and part of who we were or are. This play easily could have been entitled “The Loss of Definition.” There is so much food for thought in this very emotional production.\r\n \r\nIf you like a strong script that incorporates exceptional acting and impressive contemporary dance, this play is the one to see! It has some especially touching moments and memorable tear-inducing quotes (which I am so tempted to share here)! You’ll have to see the play for yourself to see what those are -- and do bring some friends for your post-play conversations! I very highly recommend this uniquely engaging, so well-performed, and very personal expression of “The Definition of Loss!”\r\n",
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"ReviewText": "I've heard other audience refer to this as the 'depression show.' Yup, Abdimalik did suffer from depression, but the story is about him regaining hope.\r\n\r\nWe saw him at 10pm on Thursday, and found Abdimalik's show to be emotional and completely engaging as he sat alone, dressed in black, talking about his journey. He deserves a MUCH larger audience (fewer than 10 in the Thursday night audience). Last performance is Saturday night, and we hope you join him on his journey.",
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"ReviewText": "I really wanted to like this show. It was well reviewed, I've seen many an improv show, and it had artists I've seen before in and out of fringe. But the microphones REALLY did not work for me. The music was beautiful, but too loud and the microphones I think we're to help hear the actors above the music, but they were also too loud. Taj's at times sounded like a kid joining a zoom call (you know that muffled sound of a kid talking wayyy too close and too loudly into a microphone?). Add on top of that Taj's fantastic ability to play many characters (many of which were high pitched or shouty) and I was physically cringing and plugging my ears due to noise levels. Maybe it was the acoustics of where I was sitting or my neurodivergence, because others seemed to have a great time but the sound issues really took me out of the show and then I was more confused about the storyline (which in improv can change quite dramatically at any moment and can be hard to pick up once you lose it). There were definitely some funny moments and the performers are extremely talented. If they can figure out the sound and mic levels, this will be an awesome show! ",
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"ReviewTitle": "Volcanic Funk, Erupting with Giggles ",
"ReviewText": "This improvised musical I saw involved Gummi Bears going to Mars and interacting with a depressed volcano. The guy sitting next to me kept laughing and snorting* because of the ridiculous plot. Truly impressive that their keyboardist could find different ways/melodies to vamp and crescendo the improvised songs for the better part of an hour. The three actors had strong, overlapping voices and each took turns pushing the plot further with zanier developments, most of which landed. The song’s endings sometimes eluded the cast or just went on a bit too long, but—in the end—this small troupe stuck the landing with some show-stoppin’ harmonies. Long form improv is so difficult to pull off, and I was happy to come along on this adventure. \r\n*ok, this was me.\r\n",
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"ReviewText": "I saw the Thursday show... Easily the weirdest outing I've seen yet and I LOVED IT. I have no idea how they get in and out of these stories but I sure do love to watch them. One of these years I just need to do a Harpies Fringe and just see all five shows. If you haven't seen them yet, you should!!",
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"ReviewTitle": "Always see the Harpies",
"ReviewText": "Y’all, if the Harpies are performing, get your butt over there and watch. It’s pure magic. I don’t know how they do what they do, it’s so beautiful, hilarious, surprising, heart warming and always satisfying. Musical Improv at its finest. I find it amazing how they are able to create a never before seen musical in moments AND the songs are catchy AND beautifully harmonized. They make it look effortless. But you know there is a lot of craft in it. On top of that, the characters they make. Taj Ruler’s swamp creature uncle had such great physicality you’d think she’d been rehearsing it for a few weeks. Hannah was performing dance routines as 1,000 crickets. Lizzie was a hilarious cheese stick eating teenage boy with a bad attitude. I just love them. Go see them. Trust me. You will not be sorry. ",
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"ReviewText": "As like most folks introduction to his poetry, my great-uncle used to recite The Cremation of Sam McGee when i was a kid...and hearing Mr. Graham inhabit Robert Service on stage brought back the memories of sitting around the fireplace hearing those words evoke an Alaskan wilderness I could picture oh so well. Though he only uses a small portion of the arena stage, he fills the remaining air with the tales and stories Service shared of a tundra full of adventure and humor and mystery and heartbreak in a compelling, amusing, and entertaining way. make time in your schedule!",
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"ReviewText": "If you have any interest in Robert Service, the Alaskan/Yukon frontier, or lyrical early 20th-century poetry, this is a must-see. David's delivery was wonderful and he did an excellent job of evoking the story of every poem. His tales of the frozen north left me feeling quite chilled (though the theater's overactive A/C certainly helped -- bring a 2nd layer if you get cold easily!), and the emotional moments of the performance were so sincere and sweet. Loads of fun and more introspection than I expected! \r\n\r\nIt was sometimes hard to hear his delivery on the softer pieces, and I wish he'd have moved around the space a little bit more for variety's sake. The poem about the painters was the only \"miss\", content-wise just not very interesting and kind of gross. These are minor quibbles though: if this show description looks interesting to you, then it will be well worth your time!\r\n\r\n",
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"ReviewText": "David has such a rich voice and captivating storytelling style. The clever manifestation of his handful of props was fun to watch as he segued from biographical bit and back into the next poem. The familiar Service cadence and the way he comfortably used the arena space provided a welcomed treat for this former Alaskan. It clocks in at a brisk 45 minutes or so, and I would have loved one more barroom romp or Yukon yuk, but that didn’t keep me from enjoying this one-man show immensely.",
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"ReviewText": "This show captures the true spirit of the Fringe. It’s fresh; it’s goofy in the greatest sense of the word, and it takes the bold risk hoping their audience will want to delve into the background drama of a fictional TV miniseries from 40 years ago. It’s got some frantic oh-God-another-week-of-rehearsals-would-have-been-nice energy. It has a tight and trusting ensemble of three invested actors scrambling around stage to pull off multiple exits, entrances, costume changes, and shifts in character. The camera work added a whole other engaging layer to the news anchors, D-list celebrities, writers, and producers involved in this miniseries, and when the cameras took a moment longer to catch up with the ensemble’s ludicrous hustle, those hiccups just made the effort that much more endearing. A few tempting highlights without spoiling too much of the lampooning that unfolds: Mike Fotis’ Roger Ebert observation, Rita Boersma’s quicksilver exits and entrances, and Tim Hellendrung trying repeatedly to caress a non-consenting cheek. For those few that may not connect with the mockumentary-style execution and appreciate its generous humor, I declare “Slappies.” The flaws are easily forgivable and give this silly spoof even that much more charm. In parting, the way these comic geniuses forever perverted the theme to Taxi compels me to lock this in at five kitties.",
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"ReviewText": "Rita, Tim and Mike are comedy gold. The Windblown Cheeks of Lovers felt like a love child of Christopher Guest mockumentaries and the Simpsons and I am ON BOARD. All three are fantastic character actors and I loved meeting each persona. I didn’t know about the media elements of the show beforehand and I felt they enhanced the “documentary” or “behind the scenes” element of the show, which really gave a bump of theatricality I appreciated. Plus I love when folks take risks in tech. These folks are masters of their craft and I highly recommend you see them and laugh till you almost pee your pants. A joy. A delight. A bone tower. NOTE: if you’re worried about leaving the fringe hub DON’T BE. Strike is like 6 minutes from the main hub and has free parking. I was able to go between the Rarig and Strike quickly and still had time to chat with artists before the show.",
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"ReviewText": "If you’ve been to Hard Times twelve times in the past 8 days like I have and need a change of scenery, Strike has a pretty great lineup as an indecent venue, with “Windblown Cheeks” being the crown jewel. The plot itself—-an E! True Hollywood Story-style exposé on a hit 80s Soap Opera—is uproariously funny, but there’s a very enjoyable meta-element at play of watching three of the finest comedic actors in town trying to pull off a super-complicated play with dozens of characters, a video camera element, and several sprints backstage in order to not miss a cue. The whole thing is just pretty Bonkers. Tech Craig Corsi deserves a special shout-out, there were difficulties with the camera at times but I don’t think Craig missed a single one of what must’ve been over 40 lighting cues. ",
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"ReviewTitle": "Lots of Good Fun!",
"ReviewText": "This show is fast-paced with lots of laughs. The three performers seamlessly morphed between roles and it was fun watching the rapid switches near the end. The energy was playful and inclusive, and every joke landed. See this show!",
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"ReviewTitle": "Total hilarity",
"ReviewText": "Ross weaves together stories about being a father with biting comedic songs that will leave you rolling with laughter, and invites the audience to join in the comedic synergy.\r\nThis Chicago based performer plays a mean guitar, sings, plays multiple characters, and invites the audience on a journey of heartfelt discovery all while dashing you to bits with laughter. We’re lucky Chicago is lending him to us for Fringe. Highly recommend!!!!\r\nPrepare to laugh, prepare for call and response, prepare to be there!",
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"ReviewText": "Full disclosure: went to this show simply because I was stage manager for a show on the same stage right before and didn't feel like going home. Sat in a seat near the door so I could dash discreetly if it sucked. A one man show at 10:00 on a Wednesday, the audience was exactly 9 people - yikes! Out walks this guy who looks like he should be overhauling a transmission in his backyard. He picks up an electric guitar, I give the exit a look. Then he starts singing the wildest, funniest song and I'm hooked! For the next hour he launches into hilarious monologues, stand up sets and mini sketches portraying several characters - all woven around several clever, original, satirical songs. Ross Childs is a master at keeping the audience engaged by inviting them into the process. Not an easy feat, especially with such a small \"crowd.\" He makes you laugh even when discussing the challenges and pain of growing up as a kid with a stutter (while cleverly weaving that tale around a silly song about his car - trust me, it works). The highlight for me was a song called \"Sweetest Kitty.\" As a cat owner, I laughed until I had tears. I'm an actor who has done improv, stand up and comedy writing. So I do not say lightly that this guy should be headliner at a comedy club! You have two chances left to catch Ross Childs at Minnesota Fringe so you can boast \"I saw him before he hit it big!\" One caveat, if your politics lean right, you might not enjoy his ditties \"Florida Man\" and \"Air Fry the Rich.\"",
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"ReviewTitle": "Storytelling in the Oral Tradition (Show 3)",
"ReviewText": "This review is based on the third show, \"The Gray and the Gold\", which had a \"faerie story told around a campfire\" vibe--something that you expect will have a moral or serve as a cautionary and/or instructive tale. I dig on that sort of thing and pabl's delivery was solid. The visuals were a nice add, as was the scoring. I can't recall if I've seen this story performed before or not, but I am familiar with some of pabl's work and am generally fond of it. If you have room in your schedule for future performances, give this a look.",
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"ReviewText": "Folks, do NOT sleep on Strike Theater, an independent venue, this Fringe Festival! There is absolute top-notch improv happening there right now, and Truth or Truth is a prime example. I was lucky enough to catch Chris Davis’ guest set, a visiting artist. His incredible storytelling, along with the expert, playful, and extremely funny improv skills of the cast literally made my cheeks hurt from laughing so much. The set up is so clever- it’s wildly entertaining to see what we as individuals pull out of each story that's told. Put this one, and other Strike shows on your list! ",
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"ReviewText": "The actors did wonderfully! Walt was excellent. Loved the writing, and it was really well researched with Disney facts and folklore. I thought it was interesting that it took place in the 90s during the Disney Renaissance, too. Go see this show!!",
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"ReviewText": "I loved the concept of the show but it was somehow the portrayal of the two siblings felt over and under-acted at the same. One's vocal expression sounded like a theatre kid trying so hard to project that the inflection/emotion was off. While the other felt like using 'language' was the only way to get his persona across. I just wish those two characters were developed a little more.\r\n\r\nJeffery Goodson as WALT however was spectacular!! From the look, facial expression and flawless monologues.\r\n\r\n",
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"ReviewText": "I very much enjoyed seeing uncle walt! The opening bit sets the violent, and (pardon the wordplay) goofy tone perfectly. The two brothers play well off of each other, and walt himself was a treat as he egged them on. This works best for those who have a love of disney history, but never fear- their program has all the appropriate facts and tidbits for everyone who doesn't to feel knowledgable going into the show.\r\n\r\nHeads up (oops more wordplay)- sit in the center, not the sides!",
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"ReviewTitle": "Disney Adults Find Their Telltale Head",
"ReviewText": "This show is Peak Fringe and a good first one back at the festival. It's unexpected in concept and quirky, with some funny bits and the always-classic Cain and Abel story. Some opening night jitters kept it from really shining, but by the end of its run the ensemble cast's chemistry will be electric. Each actor has their own sort of charisma and charm that complement each other wonderfully. You can tell that the actors had a good time getting their teeth into this show. A couple of points off came from mismatched blood effects - some quite realistic and some a bit flat; maybe that's nit-picky, but the former really drew attention to the latter. I also had possibly the worst seat in the house. The lid of the cooler fully blocked an actor's face for what felt like about 20% of the show - don't make my mistake! Either be very tall or avoid sitting stage right, second row, third seat from the left. Despite those minor bellyaches, it was fun to see with some good violence effects, some tension, some humor, and a quite elaborate set for a Fringe show - a real couch? In this economy?? NOTE: I know two people involved with this show.",
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"ReviewText": "Uncle Walt was classic Fringe dark comedy. Very clever story premise wrapped around the ghost of Walt Disney. The cast was excellent especially Jeffrey Goodson as Walt! The hour moved very fast and I love when that happens to keep my interest up. Highly recommend you see this show.",
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"ReviewText": "VERITIES... Please don't miss Verities. It is truth telling through a personal journey. Heartfelt and moving. Anthony Stantons stories touched my heart with gratitude that he is here, that he is alive. Olivia Kemps many powerful vocals were thrilling. Her \"I Am Calling You\", from Bagdad Cafe is still running through my mind. Yes! Please don't miss Anthony Stanton in Verities!\r\n",
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"ReviewTitle": "Differences in physicalities, but a lovely show",
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"ReviewText": "I’m a storyteller with a love for traditional fairy tales, and I saw this show with a former children’s librarian. We have pretty high standards for anything based on children’s stories. This show utterly charmed us both! The friendship between the two characters was beautifully developed by the writers/actors, illuminating the way that escape into play and stories provides a necessary balance to the challenges of growing through and beyond childhood. Impressive dancing, singing, acting, use of props—this is an all-around excellent production that provided plenty of laughs and a few sincere tears. ",
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"ReviewText": "This is from seeing show#3. In one sentence: A predictable yet overall pleasant play out of a grandson learning about his grandma. In three sentences: you have to go see this show if you connect positively with identifying as a grandchild or grandparent. Due to the show’s trying-to-say-too-much lyricsism and the cast falling a little short from reaching any “wow” moments, the story may not touch on too many universal themes for some to relate to. But as someone who has a 91 year old granny that they love, I needed this show more than I can write in three sentences, so please keep workshopping this as many people need this story more than they know.",
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"ReviewTitle": "A overwhelming attempt at 90s angst",
"ReviewText": "This review is from seeing show #4. In one sentence: I wanted to be NSYNC with this nostalgic, experimental love story, but too many moving parts lead to too many missed messages (yes missed, not mixed). In three sentences: love comes in many forms, but should that happen with live orchestration, a projector with a camcorder, action figures, singing, monologues, and letters, all at once? A difficult cacophony to merge into coherency for almost any artist, though an admirable attempt at something new. The possibilities for this show’s roots are rich, but its soil must be tilled and its water refreshed to grow.",
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"ReviewText": "I enjoyed the funny use of life video with characters and performers. Music was too loud and upstaged and drowned out the spoken dialogue. Cute concept. Somewhat redundant. See if you have time and want to support blended art and various artists. Go to something else if you have limited time and cash.",
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"ReviewTitle": "Perfect(ly incomplete) ",
"ReviewText": "This will probably be the only review I leave pre-Fringe close, but I really wanted to take the time and congratulate the entire production team for what has been *easily* my favorite 2023 Fringe experience thus far. Risky, brave, intimate, imaginative and inspiring. A continuation of Sandbox's TC legacy. The most creative incorporation of live video into theater that I've seen in a while. The joy, enthusiasm, sense of ensemble and nostalgia was palpable. However - the show is *not* just nostalgia soup, and I'm glad we evolved past naming things about the 90s we all missed (however...no shout-out to Dunkaroos?? C'mon, y'all...). \r\nThe through-line does feel incomplete, even for a devised piece (I think specifically the creative team should take another look at the beginning and 1st third of the show and how it ties into the end and the journey of the character / Kristina) and the songs can be paired down a smidge, but the moments of reflection and physical poetry are sincere, non-indulgent, and, at times - brutal. I don't want to give anything away but this is a must see for anyone dealing with grief - loss of self, loss of the images we hold of the things we care about, loss of a loved one, or loss of a time that at least *felt* simpler. I found myself choked up at multiple moments even though I had my guard up, and the sudden ending left me breathless. \r\nI do have to echo the comments about difficulty hearing. I'm noticing this fringe how awkward the acoustics are in the Rarig Thrust. I was in the front row and still simply lost multiple lines / moments. Which sucked...because almost everything else I heard connected and engaged with me deeply.\r\nI really, really hope Sandbox continues developing this piece. There is almost unlimited potential here. Work like this takes time and courage and we need more in our community. Shoutout to \"Mom\" and the musician - they killed it. Bravo and thank you. Amber out. ",
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"ReviewText": "I loved all the individual pieces of this show ... The use of live video and the beautiful use of those mountains of paper, specifically. I hope they come back to this one and keep developing it because I think there is a lot here and I would love to see it again. ",
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"ReviewTitle": "Cute concept, little story",
"ReviewText": "I loved walking in to the projection with the little toys - overall all of the use of the camera was very neat and fit the nostalgia part. But I wished there was a clearer structure. Why is the main character reading these notes? What's driving her from beat to beat? That part was unclear and I think the show could have been stronger with some more depth and purposeful choices. ",
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"ReviewTitle": "Beautiful Experience",
"ReviewText": "This production was filled with so much heartfelt love for the 90's, and for our teenage selves. At times onstage it felt like looking at a celebration and respect for our younger selves, and the whole cast committed to the silliness. Lots of creative staging, lots of fun (I'm biased, it made me cry). Unfortunately the volume was a little tricky - it was difficult hearing the actors at times, but I'm optimistic this issue will be resolved going forward. Go see this one! My favorite out of the shows I saw that day",
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"ReviewTitle": "Yes No Maybe Checks All the Boxes ",
"ReviewText": "I was struck by the similarities between this and another great show at Rarig Thrust, Dock Work—experimental, emotional, a cast of three female/non-binary performers and a backing band playing Gen X music. I think this one will stick with me more because of the more tangible, relatable messages. The show is a love letter to the 90’s, as Kristina sifts through a mountain of love letters with mischievous pieces of her conscious—all named Amber. The video camera aspect added a new layer of intimacy and nostalgia to the proceedings and they kept finding new ways to be inventive with it and serve the story—never just cool for cool’s sake (though it was cool). Joyful, lucid, and melancholic, it felt like daydreaming an episode of My So Called Life; with the jangly backing band reminding me of Juliana Hatfield (Hatfield herself guest starred on an episode of My So Called Life, playing an angel). This is a super underrated show with many charming songs, don’t miss out on its last showing. ",
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"ReviewTitle": "Diving into the ocean from notes!",
"ReviewText": "A very touching story about growing up and first love...",
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