Michael Van Duzer

The adaptation, by Mike Wamser and Casey Kringlen, is an edited but essentially faithful production of the play, minus the Christopher Sly framing device. Kringlen, who also directs, conceives the play as a comic romp in the style of I Love Lucy. As both Lucy and Shrew are highly physical farces which send up masculine/feminine conventions, this seems a strong, though not surprising, choice. Where Kringlen gets transgressive is in the gender-bending casting of the roles. Full review at "origin... full review

From the moment the cast fills the stage in a parody of Fringe artists to the tune of “Hello” from Book of Mormon, you know you’re in good hands. Irreverent, incisive, and wickedly funny, these songs are anything but stupid. Full review at "original article."... full review

Annabella is an ambitious musical inspired by Italian folk tales of the Strega (Witch). Dark, mysterious and featuring malevolent marionettes, the story is part nightmare and part romance. And, even in a bare bones Fringe production, there is much to admire. Full review at "original article."... full review

Based on the title, I walked into the theater expecting the show to be about the vagaries of singing. And, while music plays a central role in Writer/Performer Erin Carere’s life, it is the totality of her life she is exploring in this one-woman odyssey. Full review at "original article."... full review

Northanger Abbey is certainly the most neglected of Jane Austen’s novels. It was only published posthumously, and its characters have not, to my knowledge, been faced by zombies or forced to solve murder mysteries in their homes. But, if Catherine and her Northanger friends haven’t achieved immortality like Darcy or Emma, they have their own attractions. Something that was noticed by playwright Stina Pederson with her modern adaptation of the book, Catherine (The title Austen had chosen for the n... full review

Backstage comedies, which are typically valentines to the theater, have a long history of popularity. Community theatre was famously lampooned as far back as George Kelly’s The Torchbearers. With Merely Players, the Color and Light Theatre Ensemble updates the Community theatre satire for the 21st Century with mixed results. Full review at "original article."... full review

Fugitive Songs is less about lawbreakers than about the need to escape—to discover new horizons. The restless fugitives in Chris Miller (music) and Nathan Tyson’s (lyrics) song cycle feel trapped. They are ready to say farewell to loser boyfriends, dead end jobs, general malaise, or the realization that life in Washington Heights has become too comfortable. Full review at "original article."... full review

Sleeping Around is the true definition of an ensemble show, with each actor playing the same role in two very different scenes. There are no star turns, but cast members bravely immerse themselves into their characters, warts and all. Full review at "original article."... full review

Jim Hanna's sharply satirical script reveals the dreams and desires of the four regional One-Man Show Finalists as they compete for the coveted title of One-Man Show Champion in Omaha. See my complete review at "original article."... full review

With Max and Elsa, playwrighting team Mason Flink and Lindsay Kerns have focused on the lives of no one’s favorite two characters from The Sound of Music. The play’s capsule description raises the specter of hairy nuns in drag and over-the-top camp humor which is better appreciated when imbibing your third dirty martini. But the big surprise is that the script is witty and well-written. Though, for the record, there is a nun in drag. You can read my full review at "original article."... full review