America’s Next Top Bottom: Cycle 5! (FringeNYC)

By Dan

BOTTOM LINE: The first show I’ve seen with a literal “bottom line.” This is an improvisational comedy contest - the humor is dumb, dumb, dumb, but also very funny.

America’s Next Top Bottom: Cycle 5! is not a meditative look on the interrelationships of American gay men in the first decade of the 21st century, nor is it a reflection on the mores of sexual practices in a community that seems to be torn between seemingly conflicting desires for normalcy and queerness. Believe it or not, America’s Next Top Bottom: Cycle 5! is actually a comedy show in which the audience votes on which of seven flamboyant men will become America’s Next Top Bottom.

If you’re turned off already, then you probably don’t need to continue reading. But if you’re even mildly intrigued, then you’ll be glad to know that this fifth installation of America’s Next Top Bottom (the first four cycles occurred at the Celebration Theatre in Los Angeles) is frequently hilarious, largely improvisational, and very, very, very dumb (and I mean that as a compliment).

After introducing the seven contestants, a series of games and elimination challenges whittles the contest down to three finalists, and then the audience chooses a winner by voting with ballots that come in the program. There are different games in each show; the night I went, one challenge involved Teddy Teddy pulling a random prop from a bag and then asking each contestant to use it in a “talent contest” (you have to….juggle these Barbie dolls!) Yes, it all sounds very silly, and it is. But it is also very high energy, and at only about an hour, ends before it has the chance to get monotonous.

Drew Droege plays host Trina Sugg, a Franzia-drinking stressed-out mother who is thrilled to be bringing the show to “Broadway New York.” Trina Sugg, and her co-host Teddy Teddy (Pete Zias does this take-off on club kid Kenny Kenny) are the funniest people on stage, always ready with random asides that often made me laugh out loud. Much of the show is improvised; for example, the contestants didn’t seem to know what games to expect, which helped create the atmosphere of a contest. And as with a lot of improvisational comedy, the people on stage often make each other laugh as well.

If I have any critique, it is that some of the contestants rely too heavily on overly familiar racial stereotypes; for instance, I preferred “Corky Adaire” (a professional seat filler) to “Harajuku Sulu” (an Japanese guy with a hard-to-understand accent). But the show succeeds because it doesn’t just rely on the wackiness of these personas, but on the humor found in good improvisational comedy.

America’s Next Top Bottom isn’t overtly sexual, and there is no nudity, although the cast is liable to say anything. And while the audience seemed to be primarily full of gay men, this isn’t necessarily a gay show. Rather, this show will appeal to anyone who enjoys really dumb humor, like watching someone do ballet to Kelis’s “Milkshake”, or make up a poem from the words “New Jersey,” “grapefruit,” and “canary”. Or to put it another way - if you like Drew Droege as the voice of “Feathers” in the cult web show Planet Unicorn, you’ll find him hilarious in America’s Next Top Bottom: Cycle 5!

(America’s Next Top Bottom: Cycle 5! is unfortunately no longer running in the Fringe Festival. For show info visit americasnexttopbottom.com and for more FringeNYC info visit fringenyc.org.)

Live Broadcast (FringeNYC)

By Ben

BOTTOM LINE: Smart subject matter, strong moments, a work in progress.

Live Broadcast has a lot of potential. The premise is extremely compelling – what happens when a successful actor from middle-America goes on a national talk show to debate real issues with a liberal congresswoman? Does he choose to speak his mind or does he let the pressures of his own industry force him to keep his mouth shut?

This show is very much on the fringe of something that could continue to grow as the artists involved continues to develop it. It isn’t until the end of the first act that we start to see the story get away from a lot of talking and the action pick up as the stakes of the characters become clear. The second act is almost like a completely different show. The actor and politician go head to head on live TV with the host and his agent very much on edge. Real issues and strong points of view are put out there and the actors show sharp vigor for the material.

There are a lot of good things happening with this show. After getting past a lot of the initial exposition, the actors do get to sink their teeth into their characters. We have 4 archetypical characters: an actor, a politician, an agent and a news talk show host with a bit of an ego. When the natural conflicts that arise with these characters come up, it’s very cool and very true to watch. Most of this happens in the second act and the actors do a fine job of playing these roles when the heat picks up. It’s almost like a completely different show when we are actually watching the live broadcast. There is more that can happen and exploring these issues as this play does is refreshing to watch. It will make you think a lot of about entertainment and our country.

I believe with continued work, collaboration and development with this piece it could become a real fantastic piece of theater worthy of a full production. It’s just not there yet for most audiences, but I will say that if you are curious about the show and the premise, by all means check it out. There is a nice production value and, as I said at the beginning, it has a ton of potential.

(Live Broadcast plays at The New School for Drama, 151 Bank Street. The final performance is Sunday, August 23rd at noon. Tickets are $15. For more show info visit livebroadcastplay.com and for more FringeNYC info visit fringenyc.org.)

Baby Wants Candy (FringeNYC)

By Zak

BOTTOM LINE: Hour long, completely improvised musical that is quite possibly the most fun you’ll have at the Fringe Fest this year.

So I think that pretty much sums up what you will experience at the kick ass new improv show, Baby Wants Candy. A group of actors take a suggestion from the audience and think up an hour long musical right there on the spot. Hilarity ensues.

I had a great, great, time at Baby Wants candy. It’s hard to say a lot about the show because it will be completely different each night, but I'll metion a little about opening night. With the suggestion “A Scotsman in Thailand,” the group of actors came up with a tale of a young Scottish man who leaves his island home to find love in the red light district of Thailand and encounters gay backpacks, fame hungry female pimps, cross gender whores, a sexual compulsive who travels the world, and cute kittens. That’s right. Cute Kittens.

And yet some how it all made sense. I laughed more than I have at any other improv show I’ve seen in the city. The entire cast was incredible, but I was in particular awe of the vocal stylings and biting wit of Eliza Skinner. Thomas Middleditch played a young Thai whore and a gay backpack (at one point in the same scene) with the skill that trumps anything that you will see on Saturday Night Live or The Upright Citizen’s and I wouldn’t be surprised to see popping up all over film and television very soon. He is definitely someone to watch. Much of the success of Baby Wants Candy can also be contributed to the phenomenal band who improvises an entire musical score as well. The styles ranged from hip hop, far east flavor, power ballads, to Scottish folk dance and they never missed a beat.

I really think that Baby Wants Candy is great. After the Fringe Fest run, it will continue performances in the fall at The Barrow Street Theatre. I know that I will definitely be attending that run in the fall, that is, if I don’t go back to see it again this year at the fringe festival. If you are looking for a wonderfully entertaining night, go see Baby Wants Candy. Seriously. Go See It.

(Baby Wants Candy plays at The Players Theatre, 115 Macdougal Street. Performances are Friday 8/21 at 11:00pm, Saturdayd 8/22 at 2:00 pm, Thursday 8/27 at 6:00pm and Saturday 8/29 at 1:00 pm. Tickets are $15. To purchase tickets or for more info visit babywantscandy.com and for more info on FringeNYC visit fringenyc.org.)

just don't touch me, amigo (FringeNYC)

By Ben

BOTTOM LINE: An awesome solo show...funny, sharp and downright edgy at times.

This show was fantastic. Now it's possible one might think that solo shows at the Fringe are to be avoided like the plague. But this one sounded intriguing. It's billed as “a comedy about a foreigner who just doesn’t get that his loneliness is such a turn off.” Wow, I’m glad I went.

Fernando Gamborani has incredible charisma and depth in his character driven story. He takes you on a hilarious ride through the metamorphosis of a foreigner from South America coming to New York with naïve ambitions that are damn funny when put on stage and expressed so innocently. What happens as this character evolves and interacts with other New Yorkers is hilarious; it exposes some biting truths.

Scenes that seem typical at first go much deeper to make you laugh at how fickle people can be in this city, especially when it comes to how we treat each other. Dates, job interviews, run-ins at a coffee shops: we have these interactions where we judge one another so quickly. It’s a treat to watching Gamborani play both sides so brilliantly. My personal favorite scene was when his character goes in for a job interview and takes on corporate culture.

The show moves fairly quickly without losing your attention and wraps up in a fairly decent time before you get bored. It’s an example of a good solo show and I do recommend it highly to anyone who wants to check it out.

(just don't touch me, amigo plays at Manhattan Theatre Source, 177 MacDougal between 8th and Waverly Place. Performances are Saturday 8/22 at 9:15pm, Wednesday 8/26 at 3pm and Thursday 8/27 at 9:30pm. Tickets are $15. For more show info visit justdon'ttouchmeamigo.blogspot.com and for more FringeNYC info visit fringenyc.org).

A History of Cobbling (FringeNYC)

By Dan

BOTTOM LINE: A short, bizarrely funny play that both entertains and stays with you.

I fully admit - I only went to see A History of Cobbling because my friend thought it sounded interesting. On my own, I probably wouldn’t have noticed it, as it is one of those plays that tends to get lost amongst other, flashier titles in the Fringe catalog. But I’m very glad I went. A History of Cobbling may be one of the more interesting plays I’ve seen in a long time, because it strides that fine line between fantasy and reality, between the ridiculous and the mundane.

The play takes place in the kitchen of Michael and Loraine’s home, as they discuss the surprising event of the day: on a deserted city street, Michael met a foot high English cobbler. Justin T. Klose and Cameron Reed, who also co-wrote the play, are Michael and Loraine. Both are excellent, and create complex characters that have lot more going on than it might at first seem. Reed’s somewhat daffy Loraine is especially delightful, and her speech is peppered with a lot of malapropisms that are as funny as they are unexpected.

All too often playwrights feel the need to tell the audience everything through dialogue; in A History of Cobbling, Klose and Reed wisely avoid this temptation. While Michael and Loraine are at first surprised by the presence of the foot high people, their conversation begins to ramble, and they are soon speaking about the most random subjects. And weirdly, it reminded me of many conversations I’ve had with my partner, in which something that at first seems shocking quickly becomes ordinary, and the talk moves on to the everyday events that are the bulk of most relationships. In other words, A History of Cobbling reminds us that relationships are built on things like grocery lists. But this isn’t just a typical play about a normal couple. In this strange little world, Michael and Loraine have a lot that they don’t talk about, and these elephants in the room become more and more evident as the play progresses.

I think everyone will read something different into this play; for me, it is about the need to keep going in the face of loss, and that while the desire to forget might seem to translate into an inability to remember, memories have a way of resurfacing in the most unexpected places. If this implies that A History of Cobbling is serious and somber, don’t be fooled. I laughed a lot during this piece; at times I had no idea why things were funny, since much of what goes on is so very odd. I enjoyed myself tremendously, and would recommend this to anyone looking for an entertaining play that doesn’t hit you over the head, but has enough substance to give you something to think and talk about after it is over. In a sense, A History of Cobbling is a lot like the cobbler Michael meets - short, a bit surreal and bizarre and strange, and much more affecting than it might at first appear.

(A History of Cobbling plays at the Soho Playhouse, 15 Vandam Street between Varick and 6th Avenue. The show is approximately 45 minutes long. Performances are Thursday 8/20 at 8:30 pm, Friday 8/21 at 3:30 pm and Tuesday 8/25 at 5:45 pm. For tickets and show info visit www.myspace.com/ahistoryofcobbling and for more FringeNYC info visit fringenyc.org.)

I Can Has Cheezburger: The MusicLOL! (FringeNYC)

By Dan

BOTTOM LINE: A sweet, fun, and often hilarious musical that may well be one of the must-sees of this year’s New York Fringe Festival.

ICanHasCheezburger.com is a popular website that basically consists of photos of cats accompanied by funny captions, many of which are grammatically incorrect (this “lolspeak” both parodies internet slang, and serves endearingly as the “thoughts” and “words” of the cats in the pictures.) Why on earth would it occur to anyone to make a musical out of such material? I have no idea, but fortunately for us, it occurred to Kristyn Pomranz and Katherine Steinberg, and the result is I Can Has Cheezburger: The MusicLOL!

I Can Has Cheezburger: The MusicLOL! is quintessential Fringe - a very silly musical made from unlikely source material. But while some shows seem to rely solely on a strange premise or enticing title (the cynic in me feels that the more interesting the title, the less interesting the show), I Can Has Cheezburger: The MusicLOL! actually delivers. It is incredibly sweet, and often hilarious.

The show begins with one woman showing her friend (and the audience) the ICanHasCheezburger.com website. All the while, her own cat lusts after the cheeseburger sitting on her desk. She decides to take a picture of him, and soon he is uploaded into internet world (where he is called Lolcat, and can now talk and sing), on his quest to find his true love, a cheeseburger. Along the way, Lolcat meets various characters, including Drop (another cat who also hopes for a cheeseburger), Lolrus (a walrus who yearns for a bucket), and Jodie (a mouse who wants someone to love). The characters are all inspired by ICanHasCheezburger.com and its related websites, and the show is frequently augmented by projections of the photos found there.

To be sure, these photos (and their captions) are essential to the show. Without them, the show wouldn’t be so funny (and most likely, it wouldn’t make much sense). The projections are extremely well-timed and well-placed. (Important - make sure to sit close enough so that you can see the top of the screen and fortunately there is a projection up when you walk in so you’ll be able to tell). Indeed, the biggest laughs come from the various photos; one could argue that the projections are really the core of the show, and everything else is just filler. But ultimately, I think the show works because both halves (the projections and the book-score-performances) work together incredibly well. I’d argue that each half depends on the other.

The cast is uniformly good. Seth Grugle is adorable as Lolcat- the “everycat” of the piece. Vincent DiGeronimo is also great as the cuddly Lolrus, although I had a difficult time understanding many of the lyrics in his songs. And then there is Bryan Welnicki, who plays Drop, a cat who sits under a box waiting for a cheeseburger to fall from the sky. He only has one song, but Welnicki gives my favorite performance in the show.

I also loved the story to this musical. Yes, this is a standard “quest” plot line (in this case, the quest is a Cheezburger). But if it isn’t sophisticated, it doesn’t need to be; the story held my interest, and I even liked the ending. If anything needs work, it is the score. While many of the songs have clever lyrics, the music is not very interesting. I enjoyed Jodie’s solo “Someone to Eat Cheese With” (Carly Zien has maybe the strongest voice in the cast), and the closing number “Tasty Taste of Love” is a terrific finale, and the best song of the show. But aside from these two exceptions, most of the music is more or less forgettable. In fact, I think that with better music, this show could be incredibly successful in a commercial off-Broadway engagement.

But even with a mediocre score, I had a great time at I Can Has Cheezburger: The MusicLOL! I laughed a lot, and had a smile on my face the entire time. Judging by the response of the (sold out) audience around me, lots of other people liked it as well. This is one of the few Fringe shows I’d recommend to everyone- if you are open to having a silly, light-hearted good time, you’ll enjoy this. And it isn’t just for cat lovers (although I must admit that yes, I wrote this review with a cat on my lap). I wouldn’t be surprised if it returned for the Fringe Encores series in September. But in case it doesn’t, try to make one of the remaining three performances (and buy soon!). Most Fringe shows have something worthwhile about them. But very few provide as much pure enjoyment as I Can Has Cheezburger: The MusicLOL!

(I Can Has Cheezburger: The MusicLOL! plays at the Cherry Lane Theater, 38 Commerce Street between 7th Avenue & Hudson Street. The show is approximately 1 hour 20 minutes long. Performances are Tuesday 8/18 at 6:15 pm, Wednesday 8/26 at 9:15 pm, and Friday 8/28 at 4:45 pm. For tickets and show info visit icanhascheezburgerthemusiclol.com and for more FringeNYC info visit fringenyc.org.)

Powerhouse (FringeNYC)

By Ben

BOTTOM LINE: Outstanding. If you've ever thought the Fringe was sub-par, go see this show.

Holy crap, that was awesome. From the moment it begins this show does not skip a beat. It was tight. Wow. Honestly every element of Sinking Ship Productions' Powerhouse was perfect and brilliantly creative. It’s really what live theater can be that no other medium can match.

Powerhouse tells the story of Raymond Scott, a composer from the 1930’s whose unique style of jazz and swing music hit the airwaves and became the soundtrack for the classic Warner Brothers Cartoons. Erik Lochtefeld's compelling performance as Scott, from his simple entrance to his tragic end, never loses the audience's empathy for this man’s obsessed life and human flaws. The ensemble work that rounds out the rest of the cast fills the stage with energy and great acting. They dance, use puppetry and create a world of characters that you’ll love to watch every moment of.

Did I say puppetry? You bet I did. Kick booty puppetry. Wasn’t even expecting it, but when the puppetry is used it the play becomes so animated (no pun intended) and alive that it just gets better and better. Eric Wright is both a cast member and the puppets' designer. The puppets are created in a fashion I’ve never seen and they are worth the price of admission to simply see the work the ensemble does with them. My hat is off to the cast, as well, for their ability to never let the energy drop and fly around the stage with such exhilaration. The show also includes set pieces so unique and creative they serve as a reminder of how cool theater can be.

And that’s just it. This was a brilliant, exciting piece of theater. Live theater can be such a blast with great artists working together on every level to make something spectacular like this show.

This show had better be picked up and staged in a New York theater so the world can see it beyond the Fringe. As for you, my dear reader, find out if tickets are available and SEE THIS SHOW!

(Powerhouse plays at The Connelly Theatre, 220 East 4th Street between Avenues A and B. Performances are Wednesday 8/19 at 2:45pm, Saturday 8/22 at 2:15pm, Sunday 8/23 at 7pm and Friday 8/28 at 9:30pm. For tickets and show info visit sinkingshipproductions.com and for more FringeNYC info visit fringenyc.org.)

Natural History (FringeNYC)

By Ben

BOTTOM LINE: Strong acting, creative directing and smart writing carry beyond what initially seems to be a clichéd premise to reveal an engaging emotional story of a modern day young woman.

Natural History is a very strong piece. I did not know what to expect going in to the show at the Soho Playhouse, but I was pleasantly surprised by Sweeter Theater Productions new play. At first, I thought this was a typical piece of obvious Fringe Theater: a young woman standing behind a velvet rope on display at the Museum of Natural History? Really?

It turns out to be a well-written and sharply directed modern day anywoman tale that is quite moving. Each scene got better and more intriguing as the show went on walking a smart balance between dark humor fun and emotionally gripping truths. The actors Robyn Frank, Andrea Gallo, Simon Kendall and Franny Silverman deserve a nod for their ability to deliver truthful, compelling characters that I loved seeing evolve on stage.

Nothing is over the top in Natural History. A few nods to the audience are a bit fun, and it's a quality piece of live theater overall. I’d love to see more work done by the Sweeter Theater Production team and if you have a chance to do see this one at the festival, go for it.

(Natural History plays at the Soho Playhouse, 15 Vandam Street between 6th Avenue and Varick. Performances are Wednesday 8/19 at 5:30, Friday 8/21 at 5pm, Tuesday 8/25 at 10pm and Saturday 8/29 at 3:45pm. Tickets are $15. For tickets and more information visit sweetertheatre.com and for more info about FringeNYC visit fringenyc.org).

Willy Nilly (FringeNYC)

By Molly

I was excited to see Willy Nilly a new satiric musical parody of the Charles Manson family in the style of the protest musical Hair. The script itself is pretty funny and it does a fine job representing the Manson murders. There are many entertaining references (i.e. the Roman Polanski character is Poland Romanski) and it illustrates a far-out crazy time with an emphasis on crazy (i.e. zany, loony, off-your-rocker whackjobs).

I'm going to assume that this show, written by Trav S.D. (who is also in the cast), is in its early development stages. Although it tells a solid, easy to follow story, the ending just sort of peters out and the moment to moment action is frequently unclear. Although the framework is there, Willy Nilly is kind of just a big, silly acid trip, minus the acid.

I'd recommend seeing this show if gratuitous silliness is your thing, and/or if you're really, really wasted. As silliness is not always my thing, I was pretty turned off by the nature of the presentation. Don't get my wrong, I love satire, especially when it's ironic, snarky and smart. But silliness for the sake of itself rubs me the wrong way. And I never felt like Willy Nilly was being funny for its audience. Rather, it just seemed like the cast, having a rocking good time indeed, could've had as much fun in a basement with a karaoke machine.

And unfortunately the silliness was used as a crutch many times throughout the show. Tedious music? Mediocre performances? Inability to sing the high notes in the song? It's ok, look at how silly we are!!! Throw in a dozen or so STD references and the smart humor gets overshadowed.

If the production can hone in on what this show's about and lift the quirky spoof from its haze of
uninspired (and mostly unfunny) humor, there's probably a really good show waiting. Hell, the premise alone is prime for mockery and the story stands on its own, even more so since the audience knows it's non-fiction.

(Willy Nilly plays at Dixon Place, 161A Christie Street between Rivington and Delancy. Performances are Friday, 8/21 at 5pm, Sunday 8/23 at 2:45pm and Friday 8/28 at 7pm. Tickets are $15. To purchase tickets and for show info visit pipermckenzie.com and for FringeNYC info visit fringenyc.org.)

How Now, Dow Jones (FringeNYC)

By Dan

BOTTOM LINE: A newly revised version of a semi-obscure 1968 Broadway musical, How Now, Dow Jones is worth seeing, especially if you’ve ever felt that “they sure don’t make ‘em like that anymore.”

Many shows at the Fringe are new works, hoping to gain notice through the festival and have future lives, like Urinetown famously did (a show that started at the Fringe and went on to run for several years on Broadway). How Now, Dow Jones is one of the first shows I’ve heard of that is doing the reverse - after a run on Broadway back in 1968, and six Tony award nominations (and one win), How Now, Dow Jones is now seeking additional attention at the Fringe.

More specifically, this is a revamped, significantly edited version of the How Now, Dow Jones that appeared on Broadway forty years ago. Director Ben West added three songs and some unused dialogue, and he eliminated four major characters, five musical numbers, and the entire ensemble. So a standard two act musical with large production numbers has become a short one-act piece that seems to focus more on the main characters.

Of course, without having seen the full-length version, it is difficult to know how this revised version compares. Kate is frustrated because her fiancé won’t marry her until the Dow Jones hits 1,000. Charley feels like killing himself because he fails at everything he tries. While it is clear from the outset that these two will wind up together, I felt that this main story got lost sometimes, and that the stakes weren’t really high enough until much later on in the piece.

That said, I really enjoyed this short, sweet musical. Cristen Paige plays Kate, and is perfectly suited to this kind of “old-school” material; her “Walk Away” is a standout. And as Charley, Colin Hanlon is extremely charming and affable. While there was something about him that seemed very 2009 (as opposed to Paige, who manages to appear very 1968), Hanlon’s “Gawk, Tousle and Shucks” is a delight, with Hanlon’s goofy “aw shucks” faces making the song a high point in the show. The rest of the cast members are great as well, although some seem a little young (so that the most age-appropriate actor seems too old, in comparison). And with one exception, all of them project well with very little amplification. It is a relief to see a musical that doesn’t rely on those annoying headset mics that seem so ubiquitous these days.

The one obvious thing missing from this How Now, Dow Jones is the large production numbers, especially “Step to the Rear.” (Check out bluegobo.com to see Tony Roberts and company sing it on the 1968 Tony Awards. The choreography is by Michael Bennett, who was brought in when the show was out of town but requested to remain uncredited.) The song remains in the show; understanding that it is the most hummable song in the score, West saves it for the end. While the eight-person cast does a great job with it, there still seems to be something missing - it is still an eight-person cast doing a full production number. I think this final song would have succeeded more if it had been the only dance number in the show. There are a few times when the duo of “Dow” (Shane Bland) and “Jones” (Dennis O’Bannion) dance around the stage, as if to make up for the lack of a full dance ensemble. While they are fine dancers, these two simply can’t replace a twenty-person chorus.

Nevertheless, I highly recommend seeing How Now, Dow Jones. It is fun, has great music that is likely unfamiliar to even the most avid fan of musical theatre, and at 75 minutes, is almost over too soon.

(How Now, Dow Jones plays at the Minetta Lane Theatre, 18 Minetta Lane, between 6th Avenue and MacDougal Street. The show is approximately 1 hour 15 minutes long. Performances are Monday 8/17 at 10:30 pm, Tuesday 8/18 at 8 pm, Thursday 8/20 at 8:15 pm, and Sunday 8/23 at 5:45 pm. For tickets and show info visit HowNowDowJones.com and for more FringeNYC info visit fringenyc.org.)