DC’s Capital Fringe Festival offers far-ranging, far-out fun

June 28, 1:34 PMDC Art Travel ExaminerMarsha Dubrow

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Bring on the clowns, the mimes, musicians, actors, hip-hoppers, improvs, trannies, "reduced" Stoppard, and about 125 others for downtown DC’s annual Capital Fringe Festival (July 9-26). 

The offerings range from eclectic to eccentric (see "Fictitious" image at right), outstanding to outrageous, wonderful to weird-o, adventurous to amateurish, and G-rated to X-rated…:  

At a preview sampling July 1, standouts included: "Let's Sing Gospel 101"; "Missing Pages"; "Please Listen; A Musical Chaos"; Odissi classical Indian dance. Click for the festival's full schedule.

The previews began with 101's Rosita who said, "I've taught hundreds of thousands of white people, all religions, ages, to sing gospel. Tonight, I'm doing it 'Acapulco' (a cappella)". The enthusiastic audience sang along and shook tambourines.

Playwright Susan Austin Roth discussed "Missing Pages", about her World War II spy-catcher father, whose war diary she discovered after his death, and a fictional Vietnam Vet brother. Both men suffer from Post-Traumatic Stress Disorder (PTSD).

In "Please Listen...", the voices and playing were great to listen to. The musical's about "Appalachian hics kidnapping a record exec and forcing him to listen to a unique album concept" starring a robot and a bear. An exquisite Indian woman in a crimson and peacock blue sari with bells at waist and ankles, danced "Lila: The Love Story of Radha and Krishna". 

The best part of "Krapp's Last Power Point" was the clever title. Obviously, it's looooosely based on "Krapp's Last Tape", and I'll avoid the obvious pun. Ditto "Uncorseted". 

"How to Eat An Elephant" is Cigdem Otkem's monologue about her Turkish-American family, including her mother who wrestled a lion, and an uncle who pretends his dog doesn't exist when Cigdem's aunt is around. Cigdem does not, of course, chow down on an elephant, lion, or pooch. The title comes from the African folktale about an ant telling a fellow ant how to eat an elephant -- "bite by bite".  

A few other wide-ranging festival tidbits are: “A Tactile Dinner”; “Bad Hamlet” -- “Two be or not to be.”; “Bag Lady” -- “Startlingly convincing”, the “Washington Post” has said; “Good Enough for Government Work”; Cirque du SAPAN (South Asian Performing Arts) -- In Hindi, “Sapan” (see image below) also means “dream”; “ “Magnum Opus” opera; The Bea & The Bug, Writing Stories, Wowser Bowser!”. 

Capital Fringe contributes about 70% of ticket sales’ proceeds to its performing arts groups. Tickets range from $15-$35, plus a one-time purchase of a $5 Fringe button.

With the button, some performances at regular DC theaters (and one type of yoghurt) offer discounts during the festival. Also, save that button, because some theaters, museums, restaurants, and shops offer discounts through 2009. Tickets can be bought online, or by phone, 1-866-811-4111. 

The festival’s “Training Factory” hosts workshops and panel discussions on Mondays and Tuesdays – so there are no performances on those days. 

The festival originated more than 60 years ago to Scotland's prestigious Edinburgh International Festival in 1947. Troupes excluded from the event created makeshift theaters on the outskirts, indeed "fringe", of the established festival. Soon the Fringe Festival gained a large and loyal following. Now there are Fringe Festivals across Canada and in several major U.S. cities, including New York.

The best-known success from the Edinburgh Fringe Festival -- Tom Stoppard and his "Rosencrantz and Guildenstern Are Dead", which had its premiere there in 1966. Soon afterward, it was produced at London's renowned National Theatre and on Broadway, winning a Tony® for Best Play. And Stoppard's star was born. The DC Fringe fest presents an all-female, definitely "reduced" 90-minute version of Ros and Guil.

Let the DC Fringe Festival fun begin...