What I liked
The way each character was developed with a care, to be deconstructed with acidic detail, then is given the freedom of redefinition that gave space for the audience to think of each stereotype on each character’s own terms. I found the acting to be truly some of the most inspired works the Hollywood Fringe has to offer and leaves a lasting impression far after you leave the theater, and with technical finesse to boot. A gay play that is not just a “gay play” is hard to find, and Ty brings a humanity to its culture through self-criticism of its flaws in a way that is not only exciting, but a stroke of innovation that makes Ty Pickett’s work addictive as well as pure genius. This gives a new reason to be excited in the Los Angeles theater scene and leaves me wondering what Ty will do next with his craft following such an accomplished show.
What I didn't like
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My overall impression
This play cements Ty Pickett as a force to be reckoned with as an actor with a contagious stamina and an elasticity which snaps like a rubber band around any of the five (but, really, six) characters he communicates with. The priceless intro starts things off as a signal that you should put all your preconceptions on their head, as the infectious and exhilarating Ms. Taylor Shell begins a show about gay culture with its logical foil – the heterosexual perils of an enigmatic vagina. From this offers a springboard to let go of any expectations and let the play’s fantastic fusion of truly masterful acting, poignant writing, crisp lighting and sound, to allow for the audience to be holding onto each line as if you were living it yourself. This is a must-see not only among the gay-niche Hollywood Fringe shows, but as part of the apex of productions this year has had to offer.
