“Blanche: The Bittersweet Life of a Wild Prairie Dame,” Onalea Gilbertson’s Fringe Festival song cycle about her feisty grandmother, lacks craft but is an affecting love letter.
The play does not always start at the beginning. Sometimes the first scene you write ends up in the middle of the play. This happens because when I write, I’m really channeling the voices of my characters.
The lovely Tara Grammy proves that she’s a very talented woman with “Mahmoud,” a Fringe show that examines the lives of several Iranian expatriates living inToronto.
Dream Up is a festival dedicated exclusively to new works of a nontraditional bent. It eschews the well-made play, and hopes for pieces focused more on ideas, and that use “roads less traveled or undiscovered” to communicate those ideas.
In conveying the fascinating events behind the creation of the atomic bomb, Jonathan Alexandratos’ the Fringe show “Chain Reaction” unfortunately never settles on a tone.
Though not particularly incisive for a coming-of-age story, “Girl in Argentine Landscape,” at the Fringe, is brought to life with a riveting performance by author Naomi Grossman.
Funded by a FordhamUniversity grant, “Panoramania” tries to revive the story of painter John Banvard, but this Fringe show is little more than a research paper set to music.
The star of “The Little Mermaid” and “Love Never Dies” shares how working in London has shaped her as an actor.
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.
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.