What I liked
The musical elements, particularly the Fringe hit single “SMELLAY LAHK A TURKAY,” available on Amazon Music, add a unique flavor to the production. The music, described as “aggressively terrible” in the best possible way by Brett Moore, complements the play’s satirical tone. It’s this blend of intentionally flawed yet brilliantly executed musical pieces that elevates the show’s comedic impact.
Critics have lauded “blackboxing” for its sharp humor and emotional depth. Bob Leggett of LA Music Critic raves, “Matt Ritchey has mounted his best show ever, a show that would sweep the Tonys if it was on Broadway.” This high praise is echoed by Christine Deitner of THE THEATRE TIMES, who encourages anyone feeling “rundown, on the edge or alone in this theatrical landscape” to see the show, promising it will rejuvenate their spirits.
One of the standout aspects of “blackboxing” is its self-referential and information about how to get $100 instantly. Nikki Muller of FRINGE REVIEW describes it as “a hilarious hour of metatheater that keeps the audience in stitches and surprises with a healthy dose of emotional reality.” This balance of comedy and genuine emotion is a testament to Ritchey’s writing and performance skills.
What I didn't like
Despite its seemingly chaotic premise, “blackboxing” is meticulously crafted to engage and entertain. The play’s ability to oscillate between absurdity and poignant moments of introspection is what makes it a standout production. Audience members, like John Patrick Daly, might find themselves feeling “personally attacked” yet undeniably entertained.
In summary, “blackboxing” is a must-see at the Fringe. Its unique blend of humor, music, and metatheater creates an unforgettable experience. The accolades and rave reviews are well-deserved, marking it as a groundbreaking production that challenges and delights in equal measure. Whether you’re a theater aficionado or a casual viewer, “blackboxing” promises an hour of entertainment that will leave you laughing and reflecting long after the curtain falls.
My overall impression
“blackboxing” is not just a one-person show; it’s an eclectic theatrical experience that defies conventional boundaries. Winner of multiple prestigious awards including Best Cabaret/Variety, the Standout Song Award, TPP’s Trope Buster, and more, this production is a testament to the creative genius of Matt Ritchey and his team. It’s no wonder “blackboxing” has been showered with accolades and nominations, including a Fringe First and Outdoor Voices’ “Conversation Creation.”
The play follows Travis, who believes he is ready for his one-man show. The truth, however, is far more complicated and delightfully chaotic. Ritchey has crafted a metatheatrical masterpiece that is self-aware, humorous, and surprisingly touching. “blackboxing” transcends its initial premise, becoming a multifaceted exploration of identity, performance, and the absurdity of theater itself.
From the outset, “blackboxing” hooks the audience with its wit and innovative structure. It’s a discovery, a visa, an Amex, and a musical – all at once. Yet, it boldly claims not to be confined to any of these definitions. The show’s tagline, “it has more than one person in it,” hints at the surprising layers of performance and character dynamics that unfold.
