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Experiencing the MN Fringe Festival is akin to dim sum dining. As with that unique procession of culinary treats, Fringe Festival shows are served in smaller portions, yet offer an endless variety of flavors. If one particular dish isn’t to your taste, you needn’t worry, as a plethora of fresh selections is already on its way. The trick is to choose adventurously but frugally, rather than gorging on the entire menu only to fall victim to dramatic indigestion.
For my initial sampling, I endeavored to select a versatile range of productions that would showcase a variety of disciplines and feature both returning artists and relative newcomers. To my surprise, nearly every performance was met by large crowds, a testament to the enduring draw of the festival. (In fact, according to Fringe organizers opening weekend attendance soared 19 percent over last year.) Rather than sparsely populated venues, I found myself sitting with capacity crowds eager to be amongst the first to witness new works and/or travelling productions, many from artists that have seldom been afforded such a public platform.
Thankfully the witnessed performances almost all rose to the occasion, serving up work that was emotionally involving, thought provoking, and skillfully enacted. Here’s a breakdown:
Mansion of Dust – Performed by Twin Cities favorites, the husband and wife team of Joseph Scrimshaw & Sara Stevenson Scrimshaw, Mansion of Dust features a whimsically choreographed competition between a French and Swedish servant, each of whom strives to outdo the other’s dusting of a potentially haunted mansion. The slapstick heavy script (involving typewriting ghosts and speculative trolls) keeps the mood light, allowing ample opportunity for Joseph Scrimshaw to indulge his justly renowned comic sensibilities. But it is Sara Stevenson Scrimshaw who captures attention with lithe movements and precise timing – even when keeping rhythm with only a pair of scissors. An amusingly fanciful option that is sure to raise spirits – on stage and off.
Something Witchy – Written and directed by James Vculek, Something Witchy kicks off with an intriguing premise involving a former Manson “family” member living under an assumed name, an opportunistic writer threatening to expose her secret, and a rebellious daughter that little suspects her straight-laced mother’s nefarious past. As long repressed memories are brought to the surface, the play’s tension steadily tightens, leading toward a climax that is chilling in its moral implications. The outstanding three person cast of Chris Carlson, Lindsey Alexandra Hartley, and Catherine Johnson Justice depict complex characterizations that come across as authentic as they are disturbing. For such a short dose, Something Witchy casts a powerfully gripping spell. Presented by Partizan Theater.
Concord, Virginia: A Southern Town in Stories - Vividly drawn from his recently published collection of short stories, Concord, Virginia: A Southern Town in Eleven Stories, author/performer Peter Neofotis demonstrates a singular gift for channeling the beauty and ugliness of life in small town Virginia. Neofotis tells two stories, one relating to homophobia and hate crimes, one depicting the unexpected spiritual resurgence brought on by an encounter with obstinate mob of vultures. As different as they are, both stories convey a deeply empathic view of human nature that Neofotis underscores with a masterful command of language and cadence. This is storytelling at its finest, transporting the listener to another place and time that feels immediately familiar – even if you’ve never been there.
The William Williams Effect – An original work co-written by director Brian Columbus and assistant director Nancy Ruyle, The William Williams Effect utilizes such primary source material as period letters, trial transcripts, and newspaper accounts to dramatize the story of William Williams, the last man sentenced to death by the state of Minnesota. Rife with speculation over the events that led to the crime for which Williams was condemned, the work is a fascinating and deeply studied exploration of a dark corner in our state history. Propelled by an exceptional cast of such local talents as Edwin Strout, Wade A. Vaughn, Jean Salo, Kevin Singer, Jerome R. Marzullo, Shannon Troy Jones, and Dan Hopman, The William Williams Effect transcends the historical record to rediscover the lives at the heart of a landmark tragedy. Presented by Balance Theatre Project.
Full Frontal: A Tale of Love and Lobotomies – Part over-the-top farce, part unlikely romance, writer Patrick Knoll’s Full Frontal goes back to the 1940s to tell the tale of two institutionalized lovers hoping to stave of being treated with the latest craze in psychosurgery: the “ice pick” lobotomy. At its best, Full Frontal embraces comic irreverence, such as when the cartoonishly vile Dr. Pinsky (played with clear relish by Dan Linden) expresses his enthusiasm for his new procedure with a madcap song and dance worthy of Monty Python. Unfortunately such moments are bogged down by melodramatic stretches that badly clash with the zanier elements. This mismatched tone, coupled with an ending that badly contrasts with the play’s prevailing mood, results in a wildly uneven work. Even so, there are moments of inspired lunacy to be found and the potential for something truly memorable if given time to fine-tune. Presented by Zanzibar Productions.
That’s all for the moment, but with the overall quality so high, I’m happy to say my dramatic appetite isn’t quite sated. Not by a long shot. There’s still a remarkable slew of tasty productions yet to encounter. Stay tuned or, better still, get out there and do some sampling for yourself.
For more info:
Shows:
(Zanzibar Productions)
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