Kyle Therral Wilson’s writing is poignant, moving and funny. Omari Williams charms us immediately as The Professor. A nerdy sycophant who initially serves as our emcee, he continues to be our touchstone throughout, as the show-within-a-show begins to deteriorate. Matt Chait’s characterization of Norman Judd is profoundly engaging and he commands us all with gestures and glances that pack a punch. Allison Youngberg as Corinthia (no last name needed) is a powerhouse of poetry who drags us on a rollercoaster of disappointment and hopefulness. Her cynicism is bouyant enough to keep us on board and while all the costumes are great, hers is SPOT ON. Corinthia is serving up Poet, and it’s delish. Ross Wallace Chait’s composition is ethereal and pretentious (but in a way that suits Norman Judd entirely).
Overall, I will say I laughed so hard I most definitely annoyed the guy sitting next to me. Sorry, not sorry.
What I didn't like
The layout of the theatre is not ideal. The long, narrow staging area is hard on the neck. I know Fringe has many challenges, as everyone is rehearsing in living rooms or wherever they can and getting very little time in the space before preview, but this production is hurt by the fact that the character who does most of the talking (Corinthia) is stage left almost the entire show. Try to get a seat house right if you can. We were sitting house left, and by the halfway point, my neck was aching. The way the show is blocked is just not going to be a great experience for a good portion of the audience. The music is a little loud, and Allison Youngberg has to push hard to rise above it, which seems to hinder her ability for nuance – she is clearly a seasoned performer, but I was feeling the strain on her behalf. I know that LED lights are what everyone is using but they are so hard on the eyes. I loved this show, but I think it would benefit from “taking it down a notch” in a few more places. Lower volume, lower light to pull us in, not push us out.