In her acclaimed one-woman show “Mo-to-the-oncle,” actress and writer Melissa Cole dons a bottomless supply of wigs and accents to tell the story of Detroit Prince Jr., a Bronx teen who’s forced to wear a monocle to school after his single father loses his insurance and can no longer afford proper vision care. As Cole launches into one deliriously silly monologue after another, interspersed with pre-recorded comedic bits in between, she deploys her squawky delivery and charmingly awkward physicality to embody eight different characters — from Detroit’s failed Motown singer father to the woke-in-her-own-mind glasses saleswoman, as well as Detroit himself.
There’s something about a hot day at the end of summer that really makes melanin pop. This first Saturday of Fringe was, for me, a celebration of Black Magic, with spoken word group We All Write presenting "BirthWrite" at Geva Theatre Center.
My night covering the Fringe involved heading over to the Lyric Theatre’s Cabaret Hall for a sold-out performance of “Hedwig and the Angry Inch” from OFC Creations.
Rochester Fringe Festival is to be applauded for booking Woody Battaglia's "This Year's Models," a mini-festival featuring local comedians. On the third night of the series, what was a strong showing of comedy became an unmitigated success with headliner Malcolm Whitfield’s set.
One of the most respected hoofers in the Rochester area, Cheryl Johnson, is putting her entire tapping career on display at the Lyric Theatre at this year’s Fringe Festival with her show "Lost in the Shuffle." And the styles are as varied as they are incredible to watch.
My Sunday on the Fringe left me resolving to see more local dance performances with more frequency throughout the year. I caught two inspiring shows: an afternoon performance of “World Music & Yoga Ballet” and the opening evening performance of “Aria,” both at the Main Stage in the spectacular Lyric Theatre.
Each year, the Fringe Festival gets bigger. And so have the ladies of the “Bushwhacked” series.
All it takes is a single word for one of New York City’s longest-running musical improv groups, “Good Catch,” to create an (almost) full-length musical theater production, complete with piano instrumentation, lyrics, and (fairly terrible but hilarious) choreography. On Friday, that word was “milk.”
Since 2011, Left for Dead, a troop of local improv actors over the age of 50, have brought sarcasm, snark, and silliness to the stage. Their nearly sold-out Friday night performance was preceded by comedian Dan Mulcahy, who riffed off fake audience comments blended with a slew of absurdist jokes.
“Holding On through Song: A Celebration of the African-American Spiritual” was not typical Fringe Festival fare.
The first thing to understand about playwright Caryl Churchill’s 2012 work “Love and Information” is that there is no linear plotline.
The performance by Cleveland-based neo-vaude-villains Pinch and Squeal (Jason and Danielle Tilk) was once again awesome. The music was light blue, humorous, and straight out of Tin Pan Alley, along with some slick magic that still has me cross-eyed — “follow the bouncing lemon” — and we all delighted at the shoving of volunteers up the lady’s skirt.
The guys and dolls in 'The Hooperellas Spectacular' were so cool under fire they could get this whole Fringe caper re-named “The Fridge Fest.” Despite what amounted to a shitstorm of technical snafus, the show must go on, and go on it did.