FESTIVAL REVIEWSEPTEMBER 19-28, 2013

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HOW FARES THE FRINGE

BEST OF THE FEST (SO FAR)

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e don’t know about you, but we had an exciting, exhausting first weekend at the 2nd Annual First Niagara Rochester Fringe Festival. So far the City

critics team has seen some amazing performances ranging from music concerts to spoken-word performances to theater shows to dance pieces. Well buckle up, because it’s not over yet. CONTINUES INSIDE

2F CITY ROCHESTER FRINGE FESTIVAL 2013

1CITY NEWSPAPER'S REVIEW OF THE 2013 ROCHESTER FRINGE FESTIVAL

WEEK 2 By all accounts Year 2 of the Fringe Fest has lived up to the expectations set after its wildly successful first year. While the Saturday matinee of headlining aerial dancers BANDALOOP was cancelled due to inclement weather, between 12,000 and 18,000 people turned out for the Friday night show by the troupe. (The discrepancy depends on whether you go by the Rochester Police Department or City of Rochester Special Events estimates.) Cirque du Fringe has completely sold out its run at the Spiegeltent at Gibbs & Main, and headlining comic Marc Maron got a great response at Kodak Hall. The City team has been bouncing around the 28 participating Fringe venues. While there have been some sparsely attended shows, for many shows houses were either full or close to it. Anecdotally I heard from one venue that ticket sales were up 25 percent from last year’s numbers. It was something of a gamble for the nonprofit organization running the Fringe Festival to double the festival’s dates from five days to 10 after just one year. But it looks like that dice roll has paid off. The audiences are there. The longer festival has allowed the festival to draw more touring acts that needed the longer event length to cover their costs. And, most importantly, the quality of the acts in general has improved tremendously from Year 1 to Year 2. I personally saw almost a dozen shows between Thursday, September 19, and Sunday, September 22, and only one of them left me totally cold. That’s a damned good ratio. In terms of lessons to be learned from the first weekend of Fringe 2013, I would encourage the venues — which program

their own stages — to be more strategic when they book shows going into next year (assuming there is a next year, which there almost certainly will be). Some have already made some smart moves: the TheatreROCS Stage at Xerox brilliantly scheduled the Big Wigs drag show for immediately before BANDALOOP on Friday, packing the house with people who could just walk outside and watch the outdoor dance spectacle. But there were such a tremendous number of shows scheduled for Friday and Saturday night that some quality shows probably suffered simply from the exhaustive amount of competition. Meanwhile, the schedule was incredibly light on Monday and Tuesday. You’re likely to draw larger numbers in total on the weekends, but a good show could probably kill it when there’s basically nothing else playing against it. But that’s a concern for next year. For now we still have four more days of Fringe in front of us and dozens of performances. Make sure you check rochestercitynewspaper.com for daily reviews and photos from the festival. In the following pages you’ll find just a sampling of what our critics and photographers have covered thus far, plus their picks for the Best of the Fest (So Far). Disagree with our takes? Leave your own reviews in the comments section of all the articles. And one last thing: guys, let’s leave the laser pointers at home. This isn’t 1998, we aren’t in a movie theater, and those weren’t Jennifer Love Hewitt’s breasts you were circling. Those were dancers dangling from the side of a building, and your little electronic distraction really could have hurt someone. (If you attended BANDALOOP you know exactly what I’m talking about.) Behave, Rochester, or we won’t be able to have nice things.

HERE COMES

INTRODUCTION | B Y E R I C R E Z S N Y A K

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CITY 3Frochestercitynewspaper.com

City Newspaper’s cultural critics have been blogging the 2013 First Niagara Rochester Fringe Festival since it started on Thursday, September 19, and will keep blogging it through its conclusion on Saturday, September 28. As of press time more than 40 shows from this year’s festival have been reviewed at rochestercitynewspaper.com. Below find edited versions of some of those reviews, all of them covering shows that will continue into Fringe’s second week. If you like what you read, check out the upcoming performances. More information about the shows and venues can be found at rochesterfringe.com. Make sure to head to rochestercitynewspaper.com every morning of the Fringe Festival for new reviews, plus photos and slideshows of our picks for each night’s upcoming shows.

SPECIAL EVENT

Cirque du FringeI kicked off my Fringe Festival experience in spectacular style with the opening night performance of headlining act Cirque du Fringe, in the Magic Crystal Spiegeltent. First, let it be said, the Spiegeltent is a beautiful venue and completely worthy of the hype it has received. The circus-y vibe of the site is undeniable, with red and purple curtains draped across the ceiling. Everything is wood, from floor to walls, with rows of stained-glass windows and, as the name might suggest, mirrored highlights throughout. Seating is set up in theater-in-the-round style, with a small stage in the center surrounded by folding chairs on all sides and VIP booths around

the outskirts. It’s stunning; even more so considering the entire thing was set up in a matter of days. Cirque du Fringe is the perfect show for the setting, and exactly what I was hoping for in an evening of Vegas-style circus entertainment. I will say the show itself was somewhat less risque than I was expecting (or, honestly, hoping), though the muscular pair of strength acrobats were very popular at my table. But there was nothing in the performance a 13-year-old couldn’t handle. Other acts from the night included quick-change artists, mesmerizing aerialists, stunt clowning from the blokes at 20 Penny Circus (their performances seemed to divide the group I was with, but I found them amusing and entirely in keeping with the somewhat dark tone the show was going for), some hugely impressive hula-hooping, a fluorescent juggling act set to Yello’s “Oh Yeah,” and a ringmaster who gave, as one of my cohorts put it, “quality side-eye.” Shows of this type often call for audience participants, and last night the performers lucked out with some extremely enthusiastic

ones, several of whom managed to out-mug

even those clowns. But the most jaw-dropping act of the night was fittingly saved for last: an astounding bit of balancing skill that has to be seen to be believed. It involved a very high platform, cylinders balanced on top of cylinders, and a tiny skateboard-sized apparatus. I’ll say no more. Cirque du Fringe performs every day throughout the festival. The show runs 80 minutes and includes a 20-minute intermission. It’s worth noting that on the night I attended, the show ran a little long, so keep that in mind if you’re planning on theater-hopping. Cirque du Fringe is performed in the Spiegeltent (corner of Main and Gibbs) nightly through Saturday, September 28, with a 2 p.m. matinee on Saturday, September 28. Tickets for the run have sold out, although rush tix may be available.— BY ADAM LUBITOW

DANCE/MUSIC/VISUAL ART

“Anomaly”I am going to attempt — and fail — to adequately describe the merits of the astonishing “Anomaly.” This collaboration between local performance troupe BIODANCE, local musical group Sound ExChange, and RIT professor and multimedia artist W. Michelle Harris was the most amazing piece I’ve seen thus far at Fringe 2013. It was so lovely to behold that I found myself dreading its inevitable conclusion. The performance is staged at the Rochester Museum & Science Center’s Strasenburgh Planetarium, and the venue itself is a critical component of the work. The show actually

begins in the lobby, as a small grouping of futuristically dressed dancers perform strong, aggressive, yet elegant movements choreographed by Eran Hanlon. It then moves into the Planetarium’s dome theater for the bulk of the show, featuring a larger troupe dancing choreography by BIODANCE Artistic Director Missy Pfohl Smith. “Anomaly,” to me, was a brilliant merging of modern dance, classical music, and eye-popping visuals. Every element of this show reflected a great deal of thought and artistry. I’m hesitant to make assumptions about the intent behind modern dance, but in the five almost seamless pieces I picked up recurring themes about reaching for the heavens, flight, migration, community, and the cosmos -- all of which made perfect sense given the surroundings. I found myself reflecting on the concept that life on this planet, in a cosmic sense, is itself an anomaly. A beautiful, terrifying, delicate anomaly. The dancing was consistently graceful and inventive. I was repeatedly surprised,

CITY NEWSPAPER'S REVIEW OF THE 2013 ROCHESTER FRINGE FESTIVAL

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4F CITY ROCHESTER FRINGE FESTIVAL 2013

delighted, and inspired. The music by Sound ExChange — the live string quartet performed works by John Cage and Arvo Part — was the perfect accompaniment to the slow, sweeping movements. Finally, the projections by Harris were almost impossibly cool, varying from fascinating bisecting color grids to kaleidoscopic backdrops that, when combined with a handful of helium balloons and their shadows, made for a hypnotic and enveloping visual element. “Anomaly” is a true sensorial experience. If anything, the challenge comes in taking all of the performance aspects at once, especially the dancing given the unique layout of the Planetarium. But for 60 minutes I found myself enraptured in a brilliantly crafted world of beauty, melody, and calmness.“Anomaly” also plays Friday, September 27, and Saturday, September 28, at 6:30 p.m. at the RMSC Strasenburgh Planetarium. Tickets cost $10.— BY ERIC REZSNYAK

DANCE

Garth Fagan DanceBy nature, the Fringe Festival varies widely in scope and talent. Let’s just say, when it came to seeing Garth Fagan Dance on Saturday, it was good to come in from the rain knowing I was about to see expertise. Fagan and his right-hand man, Norwood “P.J.” Pennewell, both gave the audience glimpses of unfinished pieces that will premiere at the Joyce Theater in New York City next month. Fagan introduced his as an accolade of sorts to the contemporary woman, the woman who does everything and does it well, hence the name, “No Evidence of Failure.” The excerpt we saw was a solo for Natalie Rogers, a Bessie winner and longtime company member who returned to the stage last year after a hiatus to run the Garth Fagan Dance School. The dance was a lovely, lilting, and conveyed a sense of busy multi-tasking. It also provided ample opportunity for Rogers to demonstrate her intricate, exquisite footwork and the full range of movement in her supple upper body. I was especially taken by a repeated phrase in which she reclined in an excruciatingly slow penche, one leg extended high behind her as she tilted her upper body, gaze and arm downward, reaching, reaching, reaching, before pulling up into a side leg extension without changing her standing leg. I liked the excerpt from Pennewell’s new piece, “Gin,” even more than the other two full-length works I’ve seen from him over the last couple of years. It began with five dancers spread out across the stage, performing independently of each other, seemingly intent on refining their own movements. Then one

dancer, relative newcomer Roderick Calloway, stepped forward to the edge of the stage and executed a series of slow

(again, slow is hard) extensions with a light grace, some supported only from a standing leg in half-pointe. From the front row, however, the strain showed in his gaze and a slight twitch around his mouth, rather as if he was staring into the muzzles of a firing squad. But I’m being nitpicky. Next up was Vitolio Jeune, a fierce dancer and an audience favorite. Jeune explodes onstage. Clad in an open-buttoned, sleeveless shirt that whipped around as he moved, fueling his dramatic stage presence, Jeune brought to mind both Puck and Caliban. Leaping with wild precision he was a gorgeous tangle of limbs sharply bisecting each other mid-air, an otherworldly creature; hunkering down, head thrust forward, he was earth-bound, energy temporarily constrained. Norwell’s choreography here is original and affecting and there is no one better to set it on than Jeune, with his ability to hit those high altitudes again and again in his jumps.Garth Fagan Dance also performs Thursday, September 26, Friday, September 27, and Saturday, September 28, at 7 p.m. at Garth Fagan Studio Theater. Tickets cost $16. — BY CASEY CARLSEN

THEATER

“All Your Questions Answered”It seems entirely likely that audiences for “All Your Questions Answered” at the Geva Theatre Nextstage will leave the theater with more questions than when they entered. Namely: “What the hell did I just see?” and “What kind of demented nutcase is Greg Kotis, exactly?” An evening of short comedic skits and musical numbers written by the Tony Award-winning creator of “Urinetown,” the show can only be described as: Non. Stop. Bananas. Covering scenes that range from a call-to-arms amongst refrigerator mold that’s positively Shakespearean, to a warning about the potentially dangerous side to that fresh baby smell, the show is made for theatergoers with a twisted sense of humor. And I’d count myself amongst that group. This is a production of the Geva Theatre Conservatory, which allows young local theater talent to work with professionals in the business. All 10 members of the cast were

fantastic in a wide range of bizarre and over-the-top roles. I bet this show was an absolute blast to create. I particularly enjoyed Stella Kammel and John Cummings in a series of recurring skits involving… well, you’ll just have to watch the show to see how they connect. The show is definitely a little rough around the edges, but I found that only added to its charms. If you desire layers and deeper meaning from your theater, you can find it in philosophical discussions of whether audiences truly exist, or you can even ask Kotis himself, during a post-show discussion (during the show, naturally) which involves a live telephone call to Greg Kotis to answer exactly two questions from the

audience. But mostly, “All Your Questions Answered” is just great, silly fun.“All Your Questions Answered” also takes place Saturday, September 28, at 3 & 8:30 p.m. at Geva Nextstage. Tickets cost $16. NOTE: The production will continue running after Fringe Fest, through October 13.— BY ADAM LUBITOW

COMEDY

Geva Comedy ImprovFriday night I went back to Geva for some comedy with Geva Comedy Improv’s “Zero Gravity, Zero Hope: An Alien Horror Show.” Unlike some of the group’s shows, this was an entirely scripted affair, aiming to combine horror and comedy into one 75-minute adventure spoof. Given that everything was scripted, you would think this could lead to a stronger and less impromptu performance. However, this alien-horror show aimed high and didn’t really deliver much in terms of laughs or scares. The strongest laughs were drawn from prop and stage set gags, not dialogue (aside from a nicely placed Netflix joke), and the show relied too heavily on generic elements of the genres without drawing humor from them. A fairly predictable 11th hour twist and a needless love story bogged down the adventure, which drew

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CITY NEWSPAPER'S REVIEW OF THE 2013 ROCHESTER FRINGE FESTIVAL

FRINGEPHOTO BOOTH

Kevin Sean Sweeney and Jeff Siuda in "The Author's Voice" at Geva's Nextstage. PHOTO BY MARK CHAMBERLIN

The Magic Crystal Spiegeltent at One Fringe Place. PHOTO BY LARISSA COE

Jake Lasser, Frankie Alicea, and Sofia Lund in Theater in Asylum's "Ole!" Performed at Blackfriars Theatre. PHOTO BY MARK CHAMBERLIN

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DAILY FRINGE BLOGSEvery day of the festival at ROCHESTERCITYNEWSPAPER.COM

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Casey Jones Costello Sings Bing Crosby at Java's Cafe. PHOTO BY LARISSA COE

Kevin Sean Sweeney and Jeff Siuda in "The Author's Voice" at Geva's Nextstage. PHOTO BY MARK CHAMBERLIN

The Magic Crystal Spiegeltent at One Fringe Place. PHOTO BY LARISSA COE

Guy Thorne and N'Jelle Gage in FuturPointe's "Psychopomp & Pageantry" at Geva'sNextstage. PHOTO BY MARK CHAMBERLIN

Levi Gangi of local folk band The Lonely Ones performed at Writers & Books. PHOTO BY MATT DETURCK

Jillian Christensen and Suzanne Bell as Falstaff and Ned Poins in "Same Sex Shakespeare." PHOTO BY MARK CHAMBERLIN

Jake Lasser, Frankie Alicea, and Sofia Lund in Theater in Asylum's "Ole!" Performed at Blackfriars Theatre. PHOTO BY MARK CHAMBERLIN

6F CITY ROCHESTER FRINGE FESTIVAL 2013

Best Supporting ActorJeff Siuda in “The Author’s Voice” (Out of Pocket Productions, at Geva Theatre Nextstage, through Thursday, September 26)

Best Old-School ActingThe Geriactors (Presenting Rochester Playwrights at Writers & Books, through Saturday, September 28)

Best Up-and-Coming PerformerElyssa Ramirez in “Starting Here, Starting Now” (SUNY Geneseo Theater Department, at Blackfriars Theatre, through Saturday, September 28)

Best Broadway BeltingJanine Mercandetti and Robyn Fazio in “Waiting at the Crossroads Café” (At Blackfriars Theatre, through Thursday, September 26)

Best Inventive Use of a Venue“Anomaly” by BIODANCE, Sound ExChange, and M.W. Harris (At RMSC Strasenburgh Planetarium, through Saturday, September 28)

Best Adult-Oriented SketchesCanary in a Coal Mine (Solo at The Space, through Saturday, September 28; part of the Big Vaudeville Hook Comedy Hour Friday, September 27, at TheaterROCS Stage at Xerox)

Best Touring Production“Ole!” (Theater in Asylum, at Blackfriars)

Best After-Hours EntertainmentSilent Disco (At the Spiegeltent, through Saturday, September 28)

Best Slapstick SingingThe cast of “Old Maid and the Thief” (Empire State Lyric Opera, at RAPA’s East End Theatre)

Best Tearjerker-to-Triumph“Hawa” by Arzouma Kompaore (Part of RIT Film & Animation Honors Show)

Best Community Exchange“Rochester Stories: A Neighborhood Project” (At RAPA’s East End Theatre)

Best Musical DiscoveryThe Lonely Ones (At Writers & Books, through Saturday, September 28)

Best Bizarre Theatrical Barrage“All Your Questions Answered” (Geva Theatre Conservatory, at Geva Nextstage, through October 13)

Best Spectacular SpectacleCirque du Fringe (At the Spiegeltent, through Saturday, September 28)

Best PartneringGuy Thorne and N’Jelle Gage (FuturPointe Dance’s “PsychoPomp & Pageantry,” at Geva Theatre Nextstage)

Best Humorous Dance“Parenthood” by PUSH Physical Theatre (At Kilbourn Hall, through Saturday, September 28)

Best Dance NewcomerRed Dirt Dance (“The Goldilocks Score and Other Dances,” at Geva Theatre Nextstage)

The City Newspaper cultural critics saw more than 40 shows at the 2013 Rochester Fringe during the course of its first weekend. Of those shows, we’ve selected a few performers or aspects that we found truly superlative. Here is a purely objective list of what we found to be the stand-out moments of the 2013 Rochester Fringe Festival thus far. For more on each of these selections, see the full reviews on rochestercitynewspaper.com.

4CITY NEWSPAPER'S REVIEW OF THE 2013 ROCHESTER FRINGE FESTIVAL

BEST OF THEFEST(SO FAR)

AWARDS | B Y C I T Y N E W S P A P E R F E A T U R E S S T A F F

heavy inspiration from “Alien” and other deep-space films. Science-fiction and its reliance on special effects is not an easy genre for a local performing group. Some of the best scenes were when the group used this limitation to its advantage for comedic effect (the space flying sequences, doors opening and closing, and the miniature astronauts landing on the asteroid sequences, for instance). But, the limitations of a live stage, even with the impressive sound effects, worked against them in the horror area as well. Despite considering myself someone with a low scare threshold (I’m still terrified by “The Ring”) the scary elements, perhaps because the rest of the play didn’t take itself seriously, never really amounted to anything.Zero Gravity, Zero Hope: An Alien Horror Show repeats Friday, September 27, and Saturday, September 28, at 10:30 p.m. at Geva Nextstage. Tickets cost $16. — BY WILLIE CLARK

SPOKEN WORD

“Not Wallace Stevens”According to Just Poets member Roy Bent, the group titled its Fringe Festival program of original poetry “Not Wallace Stevens” because while Stevens is undeniably a great poet, he’s one who’s “good on the page, but not on the stage.” It’s a characteristic endemic to poetry as a whole, and the Just Poets group hopes to change that by taking a hint from other art forms that have evolved over the years through the use of technology in order to become more enticing to modern audiences. I’m not sure the show Saturday at Writers & Books was entirely successful in that regard — it very much resembled a traditional poetry reading — but there were some good poems to be heard nonetheless. The group’s plan for spicing up the poetry consisted of a projected slideshow of stock images (one image to represent each poem) and live music provided by guitarists Bob Vosteen and Melvin Henderson. The slideshow didn’t add much, as I mostly found myself watching the readers and ignoring the images entirely. While I expected Vosteen and Henderson to play along with the readings, instead they only provided accompaniment as reader Celeste Schantz sang bluesy covers of “Summer Wind” and “Love Me Like

a Man.” Schantz has a pleasant voice, but the songs seemed out of place amongst the original poetry that made up the

majority of the program. The highlight of the afternoon was Colleen Powderly’s reading of her poem “Twice,” a bittersweet ode to the loves of her life. Maybe that was Just Poets real strategy: the addition of extraneous elements highlighted the fact that the poetry was the real star of the show. “Not Wallace Stevens” also takes place Friday, September 27, 6 p.m. at Writers & Books. Tickets cost $7.— BY ADAM LUBITOW

SPECIAL EVENT

Silent DiscoLast on the docket Saturday was the Silent Disco, which meant I finally got to visit the much-hyped Spiegeltent that has become the focal point for Fringe this year. It’s a beautiful venue, and it’s great to see Fringe garner a much-needed center attraction for the duration of the festival. But, on to the disco. The idea of a Silent Disco is really neat, even if it feels somewhat silly at first. Instead of your typical ear-splitting dance party, everyone in the tent had a pair of headphones. You could control your own volume (though I wish they went a little louder) and pick between two live DJ sets. Take the headphones off and you could carry on conservations with the rest of your group. It solved a lot of problems about the traditional

club experience (saving my hearing being one of them), and it also gave you two different sets from which you could switch back and forth. The one problem it could lead to is a somewhat more awkward dancing experience, since everybody isn’t on the same page musically. I was a little nervous that would be what the event might turn into, but fear not: as more and more people filled in the tent and started dancing, the party took right off with it. Needless to say, I’ll be back to check it out again next weekend when I’m off the clock and off the wagon. Silent Disco repeats Friday, September 27, and Saturday, September 28, 10 p.m.-midnight at the Spiegeltent. Tickets cost $5-$7.— BY WILLIE CLARK

REVIEWSCONTINUED FROM PAGE 4F

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