Fringe Photo Blog

BurleyQ

2007-07-29T06:02:00.000-07:00

"It's Cheap But It Always Works"

By Bob Morrison

A work of monumental insight, exploring visceral themes through archetypical paradigms. If this is what you're into, you're going to be disappointed in BurleyQ. But if you're expectations are more modest, and you want intellect-free entertainment and some chuckles from a puppet show with a touch of the naughty, you'll find BurleyQ as satisfying as a Ritz topped with Cheese Whiz and a spit cup of box wine.

The story line is as sketchy as a G-String, involving the meeting of Buttons Stafford playing Buttons Stafford and Professor Ripley cleverly disguised as himself. The professor plays a lively piano that complements Stafford's whiskey something-or-other voice. Together they put a series of puppets through their paces.

The (not very) high point is a rendition of a classic strip by a puppet who ought to be ashamed of herself--but cheerfully isn't.

The show culminates with a fireworks display. So manage your expectations, down a tumbler of free wine, and be assured you won't leave this show wondering, "What did they meant by THAT."

For more BurleyQ photos, visit my Bonnie Briar Productions web site.

Cheers,
Bob

One in Two

2007-07-29T04:49:00.000-07:00

"We Earned the Right to Choose
But Not the Right to Grieve"

By Bob Morrison

Approximately one in two women in the United States has an abortion by the time they reach age 50, says playwright Dr. Lynette Long. "One in Two," a work by turns harrowing, stressful, and intense--and always insightful--explores the effects of abortion on three fictional contemporary women. That it does so without espousing either point of view in the abortion debate would alone make this play a remarkable work.

"One in Two" is not a work in progress. Its pacing, its characterization and its direction by Brooke Brod are the hallmarks of a polished work. Much of the credit for this must also go to the three gifted actors: Sheila Hennessey as Linda, a thoughtful, determined suburban mom;

Kim Jackson as Charlotte, an achieving Catholic teen;

and Audra Alise Polk as Janelle, a 14-year-old ghetto child with dreams.

We hear the circumstances of pregnancy and why the decision to abort was made. Altogether disparate in their backgrounds and sexual histories, that decision and their simultaneous arrival at an abortion clinic link their lives.

We watch as these actors portray other characters in the life stories of each. We follow their grieving and guilt. We experience with them the restorative powers of time and sympathy. And as "One in Two" ends, we walk away with an understanding of this issue unikely to be gained in any other way.

The production values in this run are effective in their simplicity. Lighting designer Andrew Cissna, sound designer Bryce Page and stage manager Amanda Clayton have made memorable contributions to a work that will undoubtedly take a strong position in the American one-act genre.

For more photos of "One in Two," you're welcome to visit my Bonnie Briar Productions web site.

Cheers,
Bob

Revisiting Aristophanes

2007-07-28T00:30:00.000-07:00

"Lysistration" at the Warehouse Main Stage

by Paul Gillis

"Lysistration", by Deborah Randall and Allan Scott, is obviously inspired by Aristophanes' Lysistrata, whose name meant "Dissolves armies". But Lysistrata's modern counterparts in this musical play have more on their minds than just stopping a war. They mean to do nothing less than end all the cruelty, oppression and evil that men are doing in the world.

A secret sisterhood gathers for this purpose, and plans are made to use a diabolical device against their enemies, which one of the women discovered while working at NIH.

But much goes wrong with their plans, and mayhem ensues. But eventually, after several lively musical numbers, reconciliation of some sort is reached, and peace between the sexes may possibly reign.

This production of the Venus Theatre definitely made for a memorable evening. Deborah Randall, who wrote the script, even works herself into the play as an observer, or perhaps a dreamer who imagines the whole story--and has a cathartic scene at the end, in the company of her characters.

For more photos of this production, see my web gallery at

http://paulgillis.phanfare.com/album/338390/487613#imageID=22275771

Just Try to Breathe

2007-07-27T21:49:00.000-07:00

NUVOE presents "Breathe"

by Paul Gillis

Nu Visions of Excellence Theatre Co. is presenting Javon Johnson's play "Breathe" in the Melton Rehearsal Hall at Wooly Mammoth. The space is not too small, but it feels positively claustrophobic watching this story of two boys jailed for murder, the events in their lives leading up to this, and its awful effect on their families.

One family is black, and one is white. The boys commit their crimes in very different circumstances, but the playwrite seems to be exploring the similarities in the forces that led to the two tragedies--and of course many others in our violent world.

There will be one more performance of "Breathe", on Sunday afternoon.

More pictures can be seen at:
http://paulgillis.phanfare.com/album/338390/490907#imageID=22435315

New Dance from the Indian Tradition

2007-07-27T21:15:00.000-07:00

"Classical & Contemporary" by Tehreema Mitha Dance Co.

by Paul Gillis

Tehreema Mitha has been dancing her whole life. Growing up in Pakistan, she was trained in the classical Bharatanatyam style of dance. As an adult, she took up choreography, and felt a need to develop the dance in modern directions, building on the classical traditions. She eventually came to the U.S., apparently feeling that her experiments were too restricted by the cultural climate of her home.

Her Fringe program on the wooly Mammoth main stage, "Classical & Contemporary", showcases dances in traditional style, very contemporary dance, and works that are a blend of the old & new.

One thing all these dances had was a strong narrative element, but in the classical dances it was more stylized, and less obvious to an observer (like me) unschooled in the traditions. The contemporary pieces had a very clear theatrical dynamic. After seeing this program, I came away thinking that American choreographers could learn a lot from the Indian traditions.

To see more photos of these dances, go to

http://paulgillis.phanfare.com/album/338390/490155#imageID=22398909

A White House Tale

2007-07-27T14:19:00.000-07:00

A Comedy Improv From the Lincoln Bedroom

By Bob Morrison

Conceived and directed by Frank Mancino with malice aforethought, "A White House Tale" updates the Dickens classic Christmas story. The President (Kim Curtis), who is also son of a President, is visited at his cot in the Lincoln Bedroom by former occupants of the mansion.

Among them are FDR

Winston Churchill,

Eleanor Roosevelt,

and Helen Thomas.

There's a hilarious bit on how she can be a ghost when she hasn't died yet. After all, it is improv.

When Dubya runs out of vacuous cliches, he reaches for quotes furnished by members of the audience. So pull out that Bush Quote of the Day calendar. If you're going to enjoy this show, you probably have one.

For more photos from "A White House Tale," head on over to my Bonnie Briar Productions web site. You'll be welcome there, podner.

Cheers.
Bob

Madness, Menopause and More

2007-07-27T12:18:00.000-07:00

A Woman's Journey

Fanning the Flames, Getting Pressed, Condi and More

By Bob Morrison

"Madness, Menopause and More," says the program notes, "was created from Debra Mims' personal experiences with life." Well, yes. But she has successfully universalized those experiences into vignettes of comic truth that all women (and most men) can appreciate and enjoy. It's at the Goethe Institute Mainstage at 812 7th Street N.W. with performances at 7 Saturday and 2:30 Sunday.

Her vivid red outfit matches the flamboyance of her personality as Mims launches into her recital of the mature woman's experience. She fires off one-liners about hot flashes early on, and milks mammograms for comedy (Call them Manograms--"that press MUST have been invented by a MAN.")

From memorable encounters with a hot comb to musings on Condi and blondes, Mims delivers.

If you're a short, white racist and sexist male boss you might pause before reserving your ticket. Otherwise, enjoy the show. For more photos from "Madness, Menopause and More," visit my Bonnie Briar Productions web site.

Cheers.
Bob

Going My Way?

2007-07-27T11:36:00.001-07:00

"My Way Little Girl" in the Warehouse Alley

by Paul Gillis

Last night I caught the second Fringe performance of "My Way Little Girl" in the alley next to the Warehouse Arts Center. (The first was on the Kennedy Center Millenium Stage.) This was definitely one of the most remarkable, out-of-the-mainstream programs I have seen at the Fringe this year.

Called an "installation piece", it begins with a tableau vivant of provocatively dressed women lounging on hay bales around a sleeping male figure, and banjo music. (The musical accompaniment by Dan Mazer is quite effective; there are no spoken words.) A stern woman teacher gives a mysterious lesson to a girl; then the man dons a doctor's garb and all hell breaks loose.

The piece was created by Andrew Zox, and seems to have been dredged up from a deep level of dreams. But to my mind, it dealt with very real cultural issues--specifically, the control and oppression of women, and the domination of the medical establishment over the process of childbirth.

The alley setting is very effective. The thought of it playing at the Ken Cen is particularly amazing--but I heard there was a very good Q & A session there after the performance. This is definitely a show to see if you are seeking the real Fringe element. More photos are posted in my web gallery:
http://paulgillis.phanfare.com/album/338390/490153#imageID=22398850

Death Before Dying

2007-07-26T22:33:00.000-07:00

Modern and Sufi Dance, and Cross Fertilization

By Bob Morrison

Everything I know about sufi dance could fit on the period at the end of this sentence. Nonetheless, my ignorance did not prevent me from throughly enjoying Death Before Dying, a fusion of this exotic dance vocabulary with the more familiar one of the Western World's modern dance.

Conceived, produced and directed by the single-named Arpita, the show also benefits from live sufi and rock music by the band Moksha. At first I found it interesting to hear how the music changed when the dancers from Arpita's Eastern dancers and choreographer Jane Franklin's Western dancers traded places on stage.

Then I began to hear the eastern instruments adding their alternate scales and tunings to the rock numbers, and the electric guitars joining the accompaniment to songs sung in a language I couldn't understand.

The dancers, likewise, began adding gestures and poses from their opposite counterparts.

The program notes delineate a story line of love and violence. I never was able to follow it. When I mentioned this to Arpita the following day, she replied, "Well, it's pretty abstract." So I felt a little better. Maybe I'm not hopelessly provincial after all.

What I was able to do was thoroughly enjoy the beautiful form and motion of the dancing of two cultures, and the subtle changes taking place with cross-fertilization between them.

More images from "Death and Dying" are available for your viewing pleasure at my Bonnie Briar Productions web site. Please visit.

Cheers,
Bob

Love & War: With the Bard's Broads & Dames

2007-07-26T13:40:00.000-07:00

Dark-Light Duels of Movement and Language

By Bob Morrison

Shakespeare, I believe, is tampered with at almost certain peril. Yet once in a while everything works and we remark fresh insights into his classics. "Love & War: With the Bard's Broads & Dames" is a happy example of the latter, playing in Touchstone Gallery on the second floor of 406 7th Street.

"War/Piece," the first of two parts, presents views on war by a variety of Sheakespeare heroines, from Hecate and the three witches to Katherina in "The Taming of the Shrew." Principal Hilary Kacser, who also serves as producer, portrays these ladies with stirring word and deft dance, echoed and complimented by the ensemble of Jordan Boughrum, Jennifer Crooks (also the director) and Liesyl Franz.

Part number two, "The Juliet Project," explores a single heroine in the guise of letters left a the Tomb of Juliet in Verona, Italy. Drawing on the Shakespeare piece, as well as responses to these letters by Club di Giulietta, Boughrum, Crooks and Franz are joined by Jason McIntosh and Mike Wong.

There will be two more performances of Love & War at Touchstone, Friday the 27th at 7 p.m. and Saturday the 28th at 9 p.m.

For photos of a dress rehearsal, see my July 18 blog. For more photographs of the performance, please visit my Bonnie Briar Productions web site.

Cheers.
Bob

Margherita

2007-07-26T12:55:00.000-07:00

Layers Within Layers

By Bob Morrison

Full disclosure: I was paid to take the publicity photos for Margherita that appear in its advertising and program, and I first met actor Marian Licha at an ITVA-DC event more than a year ago.

In this play about Benito Mussolini's secret Jewish lover at the beginning of World War II, much is not as it seems and the obvious often turns out to be fantasy. Margherita Sarfatti is confidante and mentor to Il Duce--as well as his lover. The part is played with sensitivity and style by Marian Licha, whose portrayal of "Frida Vice-Versa" at last year's Capfringe was very well received.

At the height of his rise to power, Mussolini wants and needs the love letter he sent to Margherita. Does she still have them? If so, will she give them up? Jessica Lefkow directs with a sure hand, allowing ambiguities to remain unresolved and thus drawing us surely into the story.

More mystery: Dave Coyne plays a reporter who purports to represent an offer from the Washington Post to buy the letters for a handsome sum. But is he really who he claims to be?

In my view the show rises on the performance of Paul McLane as Mussolini. He struts and wheedles, threatens and cajoles, and plays a heartless tyrant playing the lover with intensity and restraint.

I'm old enough to remember the tons of confetti swept in yard-high windrows to the sides of downtown Pittsburgh streets following the surrender of the Axis powers, and the Life Magazine photo of the bodies of Mussolini and another of his lovers strung up by their heels by angry mobs in Rome. But this tale goes far beyond a period piece to explore the human mind and heart, the relationships of power, and the power of relationship.

For more photos of Margherita, please visit my Bonnie Briar Productions web site.

Cheers.
Bob

Four Plays for the Price of One

2007-07-26T11:39:00.000-07:00

"Other Plans" at the Scientarium

by Paul Gillis

"Other Plans" is a set of four short plays by Stephanie Alice Scarpinato. It's being presented by Another Life Productions at the Scientarium, a venue specially created by the Fringe Festival on D Street. In the first play, a scheming young woman tries to steal a precious family rosary away from her sick cousin. That's what you call old-time religion!

In "Hungry no More", a woman starts her new job--writing bogus letters, supposedly from starving children, to send to a crooked charity's potential donors. It begins to dawn on her that this might not be the most ethical line of work...

"If I Had a Hammer" portrays the tense relationship between a middle-aged man and his son in the era of civil rights protests. The young man has gotten in trouble for protesting, and his father wants him to just accept the prevailing attitudes of the other white people in their small town. But this forces the father to confront how he swept his own moral outrage under the rug many years ago.

The last play, "That's Amore", is the most upbeat. A young woman comes to her grandparents' house to get them to come to a family dinner where they will meet her fiance and his family. They resist, but she does her best to win them over. Ethnic humor, of the Italian and Irish varieties, abounds.

For more photos of these productions, see my web gallery at
http://paulgillis.phanfare.com/album/338390/487613#imageID=22275771

Indigo, A Blues Opera

2007-07-26T07:40:00.001-07:00

Slave Woman Gets Woman, Loses Woman, Struggles to Get Woman Back

By Bob Morrison

The subhead above tells in words what producer, director and author Karmet Mayet Johnson's "Indigo, A Blues Opera" portrays in dance, mime, and music. Tomas Doncker as Papa Mosiah, the Guitar Man provides a gentle, slow blues background on two guitars and two Dobros in turn.

But the effects are mostly visual, and dancers Ashley Brockington and Karma Mayet Johnson speak for themselves in their own vocabulary. Throughout, members of The Painted Lady Performance Project create eerie and effective tableaux, mime commentary on the action, and serve as scenery and stage decoration. A sampling from Indigo below without further comment.

This production is billed as a condensed version of an evening-length opera. At almost 90 minutes for this staging, the full opera will certainly rival Wagner's oevre in the stamina demanded of its audience. Fortunately the Fringe performance takes place in the Warehouse Main Stage, and you can bring in the refreshments you bought at the Warehouse cafe. (Don't forget to tip the bartender!)

To see more photographs from "Indigo, A Blues Opera," visit my Bonnie Briar Productions web site.

Cheers.
Bob

The ExFiles

2007-07-25T22:08:00.000-07:00

Humor Punches Up This Drama

By Bob Morrison

Playwright Joan Bellsey hangs her ExFiles story on a Lesbian mom’s struggle to find strength to wage a custody fight with her ex-lover over their son. In this quest, she is assisted by a varied array of former lovers--with various degrees of success.

But don’t expect unbroken intensity. Bellsey deftly contrasts emotionally draining scenes with right-on touches of laugh-out-loud comedy.

The production benefits from a cast and crew that reads like a Who’s Who of Washington theater. Jane E. Petkofsky, for example, plays Emma with convincing self-doubt, leavened with episodes of tentative bravery. Director Dorothy Neumann’s expert pacing enhances the plot throughout.

Holly Twyford brings relentless southwest optimism to the character of TJ. And Charles St. Charles, Brilane Bowman, Samantha Merrick and Barbara Klein bring their characters convincingly to life.

At the end, Emma’s nemesis brings along her PowerPoint presentation, a compendium of lecture don’t-dos we’ve all seen, and carries it off with an unwitting bravado that reaches new heights of comedic achievement. I mean, gales of laughter with the appearance of each slide.

Unfortunately, there’s only one more ExFiles performance--on Thursday the 26th at 7:30 p.m. But the photos on my Bonnie Briar Productions web site will be available longer and there are more of them. You're welcome to visit.

Cheers.
Bob

The "F" Word

2007-07-25T00:21:00.000-07:00

Sheldon A. Scott performs "Faggot" at the Goethe Institut

by Paul Gillis

Sheldon A. Scott is presenting his short one-man show on the main stage of the Goethe Institut. He portrays a number of characters, all patients or friends of one therapist, and all dealing with the pain of being known by the hurtful name "faggot". We never hear how Dr. Gray responds to these men, but we hear their cries for help all too well, as they try to come to terms with the abuse that others heap on them, and the hatred that they cannot help but internalize to some degree.

This is a very moving play, and Scott has done a great job of writing it, as well as performing it.

You can see a few more photos at
http://paulgillis.phanfare.com/album/338390/487210#imageID=22257031

FREEDOM!

2007-07-24T20:06:00.000-07:00

Laughter as Weapon: Ready, Aim, Skewer!

By Bob Morrison

The biggest surprise of my Fringing so far was "Freedom." It uses comedy to challenge damaging African-American stereotypes. Wow! Perfect for this white guy who graduated from Howard University in 1969 (we rioted for longer open hours at the library--think about that!) and has two adopted African-American children. I decided to go as a duty. I felt obligated to endure it.

Hey! Was I surprised. I laughed my a** off. The funniest show of the Fringe so far, and you don't have to be Black to get it!

With skill and impeccable timing, these performers skewer self-destructive behaviors ranging from the antebellum (for y'all Yankees, that means before the War of Northern Aggression) antagonism between house slave and field slave . . .

to the "Jesus as a Giant Aspirin" attitude that denies problems and considers God an ally in personal conflicts.

Along the way, stereotypes such as Steppin Fetchit are given their hilarious comeuppance

and rapsters who condemn the demeaning of women while demeaning women themselves are satirized with razor-sharp humor.

The funniest scene of the entire Fringe so far was the talk show where Daddy Rapper talked with the TV host and and Baby Rapper repeated every syllable--but half a beat later. As the IMers say, ROFLMAO. Yess. Yess. Truly hilarious.

FREEDOM is playing again on Friday the 27th at 7:30, and Saturday the 28th at 3:30 and 7:30. Admission is $20, and its talented cast makes it fall down on the floor funny. What a hoot! Consider yourself warned--pull up your Depends--and don't miss it.

For more "Freedom" scenes, visit my Bonnie Briar Productions web site.
Cheers.
Bob

Butter: A Love Story

2007-07-24T08:10:00.000-07:00

Written and Performed by Kristin Cantwell
Directed by Wynn Creasy, Accompanied by John Marlowe

By Bob Morrison

Full Disclosure: I've known Kristin for a couple of years, and I did her publicity photos for both "Butter: A Love Story" and "Confessions of an Invisible Woman," her CapFringe entry last year. However, although I'm not exactly an unbiased observer, I hadn't heard any of her show songs until I went to The Warehouse Theater--Beyond at 1017 7th Street N.W. Saturday at noon.
Kristin plays hot new TV Food Show host Sandy Patti.

Patti's specialty: Virtual Home Cooking Made Easy. "Why," she asks with relentless bonhommie, "should we spend time cooking when we could be eating?" I'm still scratching my head over that one.

Original songs include "Peel Me a Grape," "Sara "Lee," and of course the ode to her object of desire, "Butter."

Patti even gets the audience to join the chorus of "Taylor, the Latte Boy," a poignant tale that will transport you to that time in your youth when you loved from afar.

A rousing "Bigger Is Better" proved an ample final number. I was happy to see the art of the double entendre alive and well.

See more photos from "Butter: A Love Story" on my Bonnie Briar Productions web site.

Cheers.
Bob

The Most Dangerous Man in the World

2007-07-23T18:27:00.000-07:00

Damien Blade Has Run-ins With Nails, a Screwdriver, Broken Glass, Swords, etc.; Survives

By Bob Morrison

Midnight at the Scientarium, the CapFringe-built homage to an Anatomical Theater of the Enlightenment, housed in a former hardware store at 709 D Street N.W. Lithe young Damien Blade, who bills himself as The Most Dangerous Man in the World, greets the audience and proceeds to pound a screwdriver up his nose. Do Blonds really have more fun?

Is this actually theater? Yes--the sideshow variety, and Damien gives us a palatable mini-history of the genre as he wreaks mayhem on his body. Not content with simply lying on a bed of rusty nails, he invites a member of the audience first to stand on his chest . . .

. . . and then to shatter a plate on his stomach by dropping a bowling ball as he lies on the nails.

This got my attention.

Audience reactions provided a diverting sideshow to Damien's adventurous acts.

Not content with swallowing one sword, Damien downed three--All Together and At a Single Time-- for his grand finale.

Just a sampling of about the shortest 45 minutes of drama and suspense I've ever seen. For sheer entertainment value, this is tops. To see more photos, including sequence shots of Damien Blade getting his daily ration of iron, check out my Bonnnie Briar Productions web site.

Cheers.
Bob

This Digital Life

2007-07-23T17:26:00.001-07:00

Basic Instructions for Coping With the 21st Century

by Bob Morrison

Playing at the main theater at the Goethe Institute, 812 7th Street N.W., This Digital Life contains three playlets written by Joseph Price, directed by Kristopher Mecholsky, and played in various combinations by Oren Benamor, Tara Chiunsano, Majed Sayess and Jason Schlafstein. Not credited in the program is the laptop computer and the live internet, which play integral roles in all three pieces. The first details the relationship between a man and a woman where his eager participation with internet pornography piques a fit of jealousy. If I recall right, it's puppet pornography--which adds another layer and explores fantasy vs. reality in an emotionally charged setting. I'm going on a bit here, because the entire scene was too dark for my camera and all I got was blur. The piece was funny and innovative, and clearer than any of my photos.
The second piece shows two YouTube juveniles whose friendship dims over disappointment at a lack of audience (and hence fame) and disagreement over the means to success. In one scene, the two men IM each other while their words appear on a screen behind them. Cool and daring technology and timing. I won't give away the ending.

In the last piece, the Internet technology of "Baby Namer 2.0" comes between a pregnant woman and her lover. The guy's the geek, of course.

All three seem to me to be more contemporary than futuristic, well written and acted, and wryly true to life.

A short discussion followed where the cast, crew, and author answered questions from the audience. A nice touch.

Bonus: If you go to my Bonnie Briar Productions web site to see more photos, don't be surprised to find the first half dozen or so pictures showing preparations for "The Pabst and Popcorn Hour Presents an Adaptation of the Tragedy of Doctor Faustus."

They were having a Devil of a time.
Cheers.
Bob

The Fighting Irish

2007-07-23T01:48:00.000-07:00

Solas Nua presents "The Drunkard"

by Paul Gillis

Solas Nua, a company that specialises in all things Irish, are producing "The Drunkard" by Tom Murphy. It is essentially an old-fashioned melodrama, complete with top-hatted villain and helpless maiden. Of course it deals with the evils of demon drink.

The story is long and satisfying, the laughs are plentiful, and a fair amount of John Barleycorn is consumed before we reach the end. And the villain is roundly booed and hissed.

Oh, it also has a poor widow, an innocent child, a madwoman, a crusading philanthropist, and several alluring ladies of the evening. And very good music, performed live.

It seemed a strange coincidence to me that I saw two shows in a row Saturday (this one and Koun Kukki) which each featured life-size puppets and a character who once won an award for calligraphy. I wondered if perhaps there had been a contest, like the 48 Hour Film Project.

"The Drunkard" runs every day till the end of the festival, at Georgetown University's Devine Theater.
To see more pictures from this show, go to http://paulgillis.phanfare.com/album/338390/482325#imageID=21999597

WMD's in a Fortune Cookie

2007-07-23T01:11:00.000-07:00

Koun Kukki at the Wooly Mammoth

by Paul Gillis

Anyone who loves sushi or samurai movies would get a kick out of "Koun Kukki: The Legend of Hamachi and Unagi". Informall Theater Co. is presenting this original work on the Wooly Mammoth Main Stage. A broad send-up of American perceptions of Japanese history, I think it is also an homage to the traditions of Japanese theater. Strangely, fortune cookies figure prominently (hence the title), so maybe it's also a tribute to Chinese restaurants.

Despite the presence of roving samurai, I almost thought I detected some contemporary American figures, portrayed by life-size puppets. They seek two samurai to send on a dangerous quest.

While searching for WMD's, Unagi has a run-in with a hungry dragon. And of course, many other adventures, for thus are legends made.

Definitely an original and entertaining show. To see more of my photos of Koun Kukki, go to http://paulgillis.phanfare.com/album/338390/482325#imageID=21999667

What Would Marx Say?

2007-07-23T00:56:00.000-07:00

by Paul Gillis

Theatergoers with an intellectual bent had a chance to meet Karl Marx at the Fringe Festival--as recreated by Howard Zinn of Iron Age Theater. Unfortunately, this show in the Colosseum space at the Warehouse ran only for the first weekend of the festival.

You can see more photos at http://paulgillis.phanfare.com/album/338390/482325#imageID=21999942

The Inflatable Lagoon

2007-07-23T00:10:00.000-07:00

The Blue Lagoon, A Musical

by Paul Gillis

Sunday evening I watched Jonathan Padget's musical version of "The Blue Lagoon" in the somewhat tight confines of the Playbill Cafe. It continues to amaze me how much these Fringe companies can do with very limited props & small spaces. An inflatable swimming pool, a toy boat, a drop cloth and two suitcases were used successfully to evoke drifting in a lifeboat on the open ocean and living as castaways on a desert island. (There was also an inflatable banana, but don't ask...)

Jonathan's music and lyrics were great, and the cast(aways), Kathleen Mason & Matthew McGloin, sang them with aplomb. And they looked great in their bathing suits!

You can see more photos at http://paulgillis.phanfare.com/album/338390

En Route

2007-07-22T18:45:00.000-07:00

Dance Theater With Live Music by Arts United of Washington

By Bob Morrison

My next performance shared the same space as the last, Flashpoint - Mead Theatre Lab, so I had some time to spare between the shows. Melissa and John Saint Amour, Artistic Directors of Arts United of Washington, kindly allowed me into the venue while the setup took place and the dancers did their warmups.

The program says that Arts United of Washington was formed in 2003 with the mission to create fresh blends of live music, dance and theater. They danced their first piece, however , to a recording--but I wasn't about to complain as Nina Simone's silken voice provided the accompaniment to the performance of Sylvana Sandoz.

But nothing beats live music. The band provided an effective accompaniment to Talia Bar-Cohen's performance of "Pretty Little Thing."

Aaron Jackson joined Talia for an expressive "When Sunny Gets Blue."

Ling Tang joined the other three dancers and the program continued.

I expected drama and motion, and I wasn't disappointed. I was surprised, however, at how very much the choice of the music and its elegant performance added richness to the experience. Musical Director John Saint Amour and musicians Larry Ferguson, John Lee, and Dan Roberts (who doubled as Company Composer) were just great.

Nonetheless as a photographer I'm visually oriented, and this was a visual feast. I confess I went a little wild and crazy and took a couple hundred photos! Check them out at my Bonnie Briar Productions web site.
Cheers.
Bob

Not Your Ordinary Cabaret

2007-07-22T13:36:00.000-07:00

by Paul Gillis

On Saturday afternoon, I caught the first perrformance of "Cabaret Extraordinaire" at the Atlas. It was definitely not your ordinary cabaret!
Danced Performance Group has put together this amazing program of modern dance, music and performance art.Here, a moment from Nancy Havlik's "Pure Elixir".

This is from Havlik's more theatrical piece, "Is Dave Dead?", with narration inspired by hard-boiled detective fiction.

Peter Fraize & Steve Hilmy provided some truly inspired modern jazz, in a piece they called "Nil".

I think the most remarkable performance of the show was by Joseph Perna, in his solo piece "Bestial Acts". I can't even begin to describe this piece. But it did feature a number of Weill/Brecht songs, and much of their world-weary feeling.

And the show wrapped up with a very intimate performance in the back of the theater, "Nonstop" by Malcolm Shute. The audience left their seats & crowded around the three dancers for a performance with a remarkable sound track. Unfortunately, the lighting made it nearly impossible to get a good photo of the proceedings. I offer this one, but really, you just had to be there.

To see more photos from my Saturday travels, go to my web gallery at http://paulgillis.phanfare.com/album/338390/482325#imageID=21999553

Low Tide Hotel, July 20, 2007

2007-07-22T08:23:00.000-07:00

A Sea-Themed Cabaret

By Bob Morrison

From the moment I risked my fillings with authentic salt-water taffy from the "cigarette girl" at the Mead Theater Lab at Flashpoint, 916 G Street N.W., Low Tide Hotel carried me back to shoreside boardwalks and the tang of the beach.

Mark Jaster (left), Scott Sedar and Sabrina Mandell presented songs, poems and text ranging from" Sir Patrick Spens" to "My Bonnie Lies Over the Ocean."

Throughout, clever props and the effective lighting of Justin Thomas kept the show moving with the grace of a schooner under sail. Below, Moby Dick.

We were visited by a comely mermaid . . .

. . . snd serenaded by a musical saw.

When the show ended, all too soon, it took a moment for me to reluctantly return to summer on the city streets.

For more photos of Happenstance Theater's "Low Tide Hotel," visit my Bonnie Briar Productions web site.
Cheers.
Bob

Capfringe 2007 Opening Night Party July 19, 2007

2007-07-21T18:25:00.000-07:00

Avenue Night Club, 649 New York Ave. N.W.

By Bob Morrison

The party was sizzling at Avenue, with neon, projected images and pulsing music. A good crowd, catching up with old friends and making new ones.

Some took a moment to plan which of the more than 500 productions to see . . .

Courtney McLean of "Super Glossy" brought her Christine Collins Show and introduced a number of CapFringe performers . . .

The crew from Capfringe Sponsor CityPaper hawked free chances for a Vespa and other prizes.

Swami Yomahmi hit the nail on the head and vice versa in one of his unnatural acts of comedy.

When a clown doesn't draw a second look, you know the evening's a success.

If you weren't there, soak up more of the vibes with photographs at my Bonnie Briar Productions web site. If you were there, you might just see yourself.

OK.
Enough of these fabulous festivities and on with the show.
My next post will give you a glimpse of the "Low Tide Hotel."
Until then, cheers.
Bob

Parade to Opening Night Party, July 19, 2007

2007-07-21T14:50:00.000-07:00

Fringe World Domination . . .

By Bob Morrison

. . . were the words CapFringe Festival Director Julianne Brienza chose to answer the reporter's request for a summary of CapFringe direction! She picked up a sign, and from the red curtains behind here came the beat of a drum and . . .

. . .a parade was under way, led by Major-Domo Sam Goldblatt, CapFringe Marketing Director.

The audience heeded the invitation to join the "parade," and the exuberant crew marched up 7th Street NW to applause--and a few puzzled looks--from spectators.

Along the Chinatown ceremonial archway, and on to the Capfringe Opening Night Party at Avenue night club on New York Avenue.

As I passed one spectator a flash popped and he called out to me, "Am I going to be in the newspaper tomorrow?" Well . . no. But you're officially noted here.

More parade photos are posted on my Bonnie Briar Productions web site.
FRINGE WORLD DOMINATION!
Cheers!
Bob

Friday's Opening Press Conference

2007-07-21T10:48:00.000-07:00

By Bob Morrison

The press conference was held at the CapFringe 2007 Box Office and Unified Launch Theory at 507 7th Street NW. Designed by Robert Cole and Scot McKenzie and curated by Julianne Brienza, the installation is worth a trip to see.

Unified Launch Theory

Chairman of the Fringe Board of Directors Angie Fox opened the press conference with a welcome.

The local press was well represented.

Festival Director Julianne Brienza noted that this year's festival has grown since last year in every respect.

After a few questions, a reporter asked if Brienza could summarize Capfringe 2007 in just three words. "Yes I can," came the answer. And those three words will open my next blog, The Opening Night Parade.
In the meantime, you can see more photos of the Box Office, the Unified Launch Theory, the buzz it is creating on the street, and the press conference at my Bonnie Briar Productions web site.
Cheers.
Bob

A Bunch of Great Shows Friday

2007-07-21T10:00:00.000-07:00

by Paul Gillis

Well, I had a very busy day Friday, running from one show to the next, from 2 in the afternoon till almost midnight. (I could have caught a midnight show, but I was exhausted--in a good way!) Of course, this was only a tiny sample of the performances that day. But I have many days to see more shows!Here is a shot from "Rubber", one of the wonderful dances in Shawn Short's program "Human", running at the Atlas Performing Arts Center. The Lang Theater there is a really nice hall!
Here is Mara Neimanis and her aeronautical sculpture/set for "Air Heart". It's an acrobatic tribute to Amelia Earhart at the Scientarium, a space specially creted for the Fringe Festival on D Street NW.
This is one of many tense scenes in "The Lesbian & the Flying Pig", a play at Flashpoint/Mead Theater Lab. Among other issues, it addresses America's drift to the far right, foretelling a virtual theocracy created under an ongoing dynasty of Bush presidencies.
This is a young elephant being attacked by jackals, and you will understand if you go see Callie Kimball's "Nutshell", performed by the DC Dollies & Rocket Bitch Revue at the Wooly Mammoth Main Stage.
Here are some of the Weerd Sisters & their amazing musical accompanists performing "Works for the Living" at the Warehouse Main Stage. I was wondering if Diana Tokaji, the choreographer seen here dancing in the center, might follow this up with "Works for the Dead." Just an idea...

To see a few more pictures from these shows, go to my web gallery at: http://paulgillis.phanfare.com/album/338390

I Love a Parade

2007-07-20T09:00:00.000-07:00

by Paul Gillis

Many dedicated Fringe staff, volunteers and followers gathered at the box office on Thursday evening for a press conference (a first for the Capital Fringe Fest.) It reached an explosive climax when a marching band emerged, blaring, from the basement. Everyone followed them in a grand (and rather damp) parade up 7th Street, with horns and drums and fire-twirling acrobats.

Arriving at Avenue night club, the parade encountered a rock band playing on the sidewalk & more fire twirlers. When the flames had died down, everyone finally headed into the air-conditioned comfort of the club, where performers from many Fringe productions entertained us on all three floors, and everyone seemed to be busy recruiting an audience for their own particular show.

Fringe for Art's Sake

2007-07-20T00:32:00.000-07:00

by Paul Gillis

On Thursday evening, before the opening night party had even started, I saw my first Fringe production of the year.

banished? productions is presenting bobrauschenbergamerica, a play by Charles Mee. Fittingly for a work named after a famous painter and sculptor, it is performed in an art gallery, Long View Gallery at 9th and N Streets NW.

In the cozy confines of this space, the cast of 5 women interacts with the audience, as well as each other, while still images and video are projected on cloth scrims hanging from the ceiling. As seen in these photos, an all-white theme dominates the costume and set design. The crew even give out white mantles to audience members who did not dress in white!

More photos can be seen at my web gallery:
http://paulgillis.phanfare.com/album/338390/479959

Rehearsal: "Love & War With the Bard's Broads and Dames"

2007-07-18T14:05:00.000-07:00

By Bob Morrison

Actor-Manager Hilary Kacser invited me to a rehearsal last night of the piece she and co-creator Jennifer Cook will present at CapFringe: “Love & War: With the Bard’s Broads and Dames.”

The show is a two-part celebration of Shakespeare’s women in drama, dance and song. Exhortations to valor combine with moments of pathos, humor, romance and a stirring of dance. Besides Hilary and Jennifer, the cast includes Jordan Boughrum, Liesyl Franz, Jason B. McIntosh and Mike Wong.

Hilary Kacser

Hilary Kacser with (from left) Jennifer Crooks, Liesyl Franz and Jordan Boughrum.

Romeo and Juliet: Mike Wong and Jennifer Crooks

The Death of Juliet. From left, Jordan Boughrum, Jennifer Crooks, Liesyl Franz and Jason B. McIntosh.

You can see more photos from the rehearsal on my Bonnie Briar Productions web site by clicking here. Also, Dave Nuttycombe, webmaster for Washington CityPaper, was at the rehearsal last night for his Fringe & Purge so keep an eye on that blog for fresh video.

Cheers.
Bob

More Preview at the Palace

2007-07-17T07:39:00.000-07:00

Palace of Wonders Goes SRO for CapFringe Preview

By Bob Morrison

The Palace was Standing Room Only with wall-to-wall patrons. Customers at the far end of the bar watched the performances on a closed-circuit TV. Business was so brisk they sold out of their brew special! Below is a glimpse of the crowd.

One of the audience favorites was a saucy lass from BURLEYQ whose attire vanished piece by piece!

To see more Fringe Preview photos on my Bonnie Briar Productions web site, click HERE.
Cheers.

Bob

Preview at the Palace

2007-07-16T22:10:00.000-07:00

by Paul Gillis

The staff and many participants of the festival wrapped up a whirlwind tour of D.C.'s neighborhoods (actually, of D.C.'s neighborhood bars) with a big Preview Party on Wednesday, June 27. Many performers and companies from the festival were showcased on the cozy stage of the Palace of Wonders. This fascinating saloon & museum of oddities on H Street NE is just a block from the Atlas Performing Arts Center, which will be hosting a number of the festival's dance & theater performances.

Elbow room was in scarce supply, but I managed to get pictures of several different troupes thrilling the SRO crowd on both floors of the Palace. Here we see Lucifer and his minions, taking a break from "The Tragedy of Dr. Faustus" to tempt the audience with cans of cold beer.

For more pictures from this event, go to http://paulgillis.phanfare.com/album/338390/475574