Ryan Kipp’s fragmentary “REDlight,” in the Fringe, is a brief collection of monologues linked by Gavin, a hunky young straight guy who works as an erotic dancer in a gay club.
NY Fringe Festival
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Dani Vetere’s “Hadrian’s Wall,” a Fringe entry, is a rather odd romantic-triangle drama about the hegemony of the male species with a lesbian twist.
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A cursed necklace, a golden cloak, and potions figure in "Grimm," still another conflation of fairy tale stories, one better suited to “Sesame Street” than the stage, at the Fringe.
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A new litter of singing and dancing felines hits the stage in Ellen Warkentine and Andrew Pedroza’s hysterical but uneven Fringe opera based on the Internet’s Lolcats photos.
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“Behind the Badge,” written and performed by Marrick Smith and Lachlan McKinney, is a vigorous two-man Fringe work about a cop and his son that’s based on true events.
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David Marx’s drama “Would,” a Fringe Festival show, digs deeply into the psychology of self-forgiveness in its examination of a young man who was imprisoned for life at age 14.
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"Independents," with a book by Marina Keegan, at the New York Fringe Festival, is a beautifully crafted musical about the doubts and fears of 20-somethings.
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The Fringe's "Gay Camp" is an entertaining if erratic romp that's distinguished by the comic agility of its three-person cast juggling multiple roles.
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NY Review: 'The Women of Spoon River: Their Voices From the Hill'
Actor-adapter Lee Meriwether's "The Women of Spoon River," a Fringe entry, focuses on the distaff population of Edgar Lee Masters' epitaphs to vivid effect.
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A nimbly funny Fringe mash-up from Her Majesty's Secret Players, "Pulp Shakespeare" imagines how the Bard might have written the film "Pulp Fiction."
