Tennessee Williams is one of America’s most honored playwrights and with good reason. “The Eccentricities of a Nightingale” is not perhaps one of his most well-known plays, but it seems to have sustained itself over the years, being produced regularly, and on Broadway and in the West End fairly recently.

The story revolves around Alma, the daughter of a minister and her love affair with the boy next door. For her it was love, but for him it could have been perhaps at one point. But ultimately, it never was. Alma is what was then called “highly strung.” I suppose she may have been based on William’s sister Rose who was diagnosed with schizophrenia and lobotomised in her early 20s. A horrible practice, which sadly put her in care for the rest of her life. 

Alma’s character is fraught with a sweet kind of awkwardness. She sings in her father’s choir, teaches singing and performs occasionally, becoming known as a little eccentric over the years. Her longing for the boy she grew up with, John Buchanan, is constantly thwarted by his overprotective mother who could never bear the thought of her son marrying Alma and would rather dramatically show up when they did spend any time together,  doing her best to keep them apart as much as possible.

It’s a sad play, edgy in the way that we, as the audience, are always preparing for the very worst to happen. There’s a thread of tension running through it. A relentless unraveling, which is really what the play is about I think. A hovering probability of disaster. It makes for a terrific play though and the characters Williams populates this tale with are vivid and engaging and phenomenal fodder for actors.

“The Eccentricities of a Nightingale” is beautifully cast. Every actor’s performance is believable and really wonderfully done. The direction is both complex and restrained with some truly lovely touches. 

The two young actors who play Alma and John as children and quaintly introduce each scene are adorable and add such a lovely reminder of where it all began and the possibilities of life.

Collaborative Artists Ensemble is always so ambitious with the plays they select. I love that. All these wonderful plays they choose capture classic important moments from the American panorama without judgment, giving such an incredibly important reference point for drama and our own human condition. 

“The Eccentricities of a Nightingale” is well worth your time, and how often do we have the chance to see such a brilliant, subtle and exquisite writer’s work on the stage? Tennessee Williams was a genius. A sad and tortured soul perhaps but an absolutely stunning writer…

Tickets: 

https://3common.com/event/the-eccentricities-of-a-nightingale/661814fdac490f7164c6e42e

When: 

May 3-26
Fridays and Saturdays at 8PM, Sundays at 7PM.
Two performances on Sunday, May 24, at 3PM and 8PM

Where: 

The Sherry Theatre
11052 Magnolia Blvd., NoHo Arts District

The Cast

Shannon Creedon Axtell, Kathy Bell Denton, Monica Mauro, Rory McLaverty, John Ogden, Daniel Pietruszka, Calliope Quinn, Jael Saran, Reagan Shen-Kao, Jason Sino, Meg Wallace and Pamela Wylie

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I was lucky enough to see “Sins” at the Hollywood Fringe Festival a couple of years ago, before the world went to pot. I loved it!! Such a brilliant and weirdly wonderful play. You can see my review of it here: https://nohoartsdistrict.com/sins/

We thought we would find out more about the show, the why and the what, so we asked the writer, director and star, William S Thompson, to tell us what he can…without giving too much away!! I hope you see this show!!

How did you come up with the story idea for this show?

I was in London, watching a show that wasn’t emotionally filling at all for me. I had an impulse I didn’t know what to do with, but I knew there was something creative I wanted to do with it later. I went to see a different show and it became clear to me that I wanted to discuss the conflict between doing everything in your power to create but also the desire for that creation to be good… and whatever that means.

The show feels very purposeful, how important was that to the concept?

I set out to share as much of myself as possible, both my inner conflicts as an artist and my history as a human being. I wrote the show in 2 hours and I didn’t have time to think about anything other than what was happening next, which allowed me to discover it for myself as I wrote.

Casting is always crucial, how did you cast this show?

A few of the roles were offered to actors I have worked with previously, and the others came to us through a general casting call via Actors Access. A lot of insanely talented people auditioned for us, and we ended up with an amazing cast who are immensely talented and work very hard.

“Sins” is cleverly keeping its premise secret, how hard is that to do while still trying to get people to see it?

It’s a double-edged sword, there’s something about not being able to tell someone anything about a show that piques their curiosity. Sometimes, that will generate enough interest for them to come see it. Other times, people want to make sure that what they spend their precious time on is something they’re going to enjoy, so the secretive nature of the show acts against it in that case.

Why a fringe show?

Whenever I create a new work I’m very cognisant of the framework that it fits into. When I finished Sins, I sat down to reread it, and about halfway through I realized it fits inside the framework of a fringe show perfectly. Small cast, very few props, no costume changes, and an hour long. I didn’t set out to write a fringe show but once I’d written Sins I realized I had.

Any advice for anyone thinking of creating their own show.

Just do it. Don’t let any doubt or insecurity or worry that it might not be good stop you from creating. Create first, worry about if it’s any good much, much later.

Tell me why audiences should come to Sins

As a team, we’ve talked a lot about the emotional experience for theatergoers. We do everything in our power to ensure an audience member will have some level of engagement with the play. I think that theatre at its best takes us on an emotional journey that we wouldn’t normally have access to, and that’s what we strive to do with Sins.

Thank you William. It’s always fascinating for find out more about how a show was created, I think an audience can only get more out of a play when they know more about the creatives behind it.

When:

Friday, June 24 at 9:30 PM

Saturday, June 25 at 7:30 PM

Where:

The Broadwater Theatre

6320 Santa Monica Blvd, Los Angeles

Tickets:

https://www.hollywoodfringe.org/projects/5939?tab=tickets

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“She Stoops To Scandal” is a one-women, multi-character Jane Austinesque show about a young woman of modest means, Grace, who by chance meets the second richest woman in the country when her carriage smashes into Grace’s house in the little town where she lives. In true Regency fashion, Grace, whose hair is unfashionable short due to an eagle ripping it out when she was a child, is befriended by this rich and lovely lady and transported to London, where she has many adventures and meets the man of her dreams.  Because, of course she does.

“She Stoops To Scandal” is a wonderful blend of “Sense and Sensibility” and “Pride & Prejudice” with a little bit of “Northanger Abbey” thrown in for good measure.  Characters from the books comically make their appearances, but this is an all-new story. Grace takes us on a tour of London society, finds her long-lost father, causes a scandal, and falls in love…with the right man in the end.

It’s an absolutely brilliant show and was the Pick of the Fringe winner in 2021. Darbianna Dinsmore is absolutely wonderful as Grace, and grandmother, mother, and various other characters who come in and out of the story. 

There’s also plenty of dancing to some hilariously unfitting music. “She Stoops to Scandal” is the perfect Fringe show. Clever, inventive, funny and utterly original. But it all falls on Darbianna to pull it all together and make us believe. She does and we totally do! 

What an inspired and creative piece this is, giving Darbianna the perfect material to really highlight her comedic skills. What I loved the most though was her ability to totally commit to each and every character. 

Nothing is played for laughs, and as she magically flits from one person to another, metamorphosing in front of our very eyes she charms her way into our hearts.  I loved this play and Darbianna is inspiring!

There is just one more performance on June 26 at 3pm at Studio Stage, but they are also streaming it if it’s sold out!

When:

Sunday, June 26 at  3:00 PM 

Sunday, June 26 at 3:00 PM (Streamed from studio/stage)

Where:

Studio Stage

520 N Western Ave, Lost Angeles 90004

Tickets:

https://www.hollywoodfringe.org/projects/7213?performance_id=20670&tab=performance

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Henry Naylor is a UK comedian and three-time Edinburgh Fringe First winner, which is pretty rare. Winning the Edinburgh Fringe, not being a comedian in the UK. The persistent rain and cold make conditions perfect for the preponderance of comedians.  But Henry is rarer still in that he is a playwright who has been nominated and awarded dozens of international awards, including France’s most prestigious award for the arts, The Globes De Cristal. His plays have run Off Broadway and been translated into eight languages.

This play, “Afghanistan Is Not Funny” is an account of his trip to Afghanistan a couple of decades ago while he was researching a new play, “Finding Bin Laden.”  The trip was arranged with the help of his friend Phil, a war correspondent cameraman for the BBC, and he teamed up with another mate, Sam Maynard, a photographer who was keen to get shots of the country. 

This was when Afghanistan was in flux, the Taliban and the Mujahideen were everywhere and the country was in a similar state to what it is now. No money, no safety, roving warlords, littered war paraphernalia and unexploded mines. And in amongst them, people, trying to survive.  It was very, very dangerous, particularly for a tall white Englishman and his paler Scottish companion.  Fortunately, they had a wonderful if inexperienced guide and the luck of the naive. 

Henry walks us through what got him there, the meetings, the series of fortunate events that aligned the stars in his favour.  And suddenly, he finds himself in Afghanistan with no plan and the weirdest of excuses to be there. 

It’s a riveting play and Henry Naylor is absolutely mesmerising as he commands the stage with a slightly quizzical look of disbelief that this even ever actually occurred. A playwright in Kabul, doing a bit of research, chatting up the locals for their stories and trying not to get kidnaped. 

Their guide takes them all over the city and out into the wilder parts nearby to search for destroyed tanks and unexploded shells. If something was ‘cool’ they took pictures and it seems like there were lots of opportunities for this.   

Of course the hubris of it all was not lost on either one of them and it did seem as if their luck had finally run out when they encountered a group of Mujahideen keen to take them to their leader.  Just when all seemed lost they charmed their way out of danger and into a valley littered with the remains of thousands of tanks. More pictures were taken and they headed for the airport and home. 

However, their last stop at a refugee camp was what changed them both when a girl quite literally stopped their hearts holding out a bundle to them.  The photo Sam Maynard took of her is the last image Henry shows of his adventure and by far the most poignant. I’ll leave it to your imaginations as to what exactly it was. Suffice it to say, I haven’t shaken the image myself just yet. 

“Afghanistan Is Not Funny” is a documentary play, if there is such a thing. It stirs the soul, it astonishes with it’s brutal forensic revelations and it’s also brilliantly funny and very very English. 

Henry Naylor is a master at this, but it is his truthfulness that is his most effective weapon in his playwright arsenal. He is shockingly truthful. About everything. His purpose for being there, his disappointment at losing out on a film deal that lead to this reckless trip, his unhinged arrogance at looking for a play in the depths of human despair. But he knows this and he fully acknowledges his yawning vanity as he reflects on his journey to self realisation and he leaves us with that picture of the girl to show us.

It’s a truly astonishing performance by an utterly brilliant writer full of moments you won’t easily forget and a message we all need to hear over and over again. War is shit and there is no winner. Ever. 

The show continues for the rest of this week. It’s the kind of play you will never see again, so I encourage you to share in Henry Naylor’s story while you can.

http://henrynaylor.co.uk

When:

Tuesday, June 21 9:30 PM
Wednesday, June 22, 7:00 PM
Thursday, June 23, 8:00 PM
Friday, June 24, 5:30 PM
Saturday, June 25, 9:30 PM

Where:

The Broadwater Second Stage

6320 Santa Monica Blvd, Los Angeles, 90038

Tickets:

https://www.hollywoodfringe.org/projects/7531

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There’s nothing like a truly excellent musical, full of larger-than-life characters, rousing songs and hilarious antics. “The Legend of DC Colorado” is truly exactly that, excellent in a weirdly wonderful kind of way, like “Rocky Horror” meets “Thunder Dome” meets “Legend” with a dash of “Buffy.”

Two brothers, one dim and one dimmer, lose their beloved mother when she is murdered by their demon father, who they have no idea even exists. The demon has returned to DC Colorado, a town halfway between Washington DC and Colorado, on some kind of paradoxical spot on the earth where, with all the right conditions and one very particular crystal, the doors of hell can be opened and all the demons within let loose on the world. Daddy demon is searching for said crystal and the boys are searching for it too, to bring back their mother. 

Add to this a talking magical horse, a wise mountain man and a witch that turns out to be their long lost aunt, and you have all the ingredients for a wonderfully absurdist comedy with many fabulous and ridiculous songs and characters and twists and turns. 

“The Legend of DC Colorado” is a lot of fun. The performances are genius and the pilot line insane and I absolutely loved it. As did the rest of the audience if their whoops and hollas are anything to go by!

The creators, Constantine Malahias and Christopher Merlino, who also play the two brothers, clearly had an epiphany during the pandemic shut down, stuck in New York with possibly too much time on their hands. “The Legend of DC Colorado” is the result of that covid nightmare and can I just say that I think it might have all been worth it…almost.

The Hollywood Fringe is the perfect place for this nonsensical, fantastical brilliance and reason enough to crowd into the gorgeous Broadwater main stage and spend some time amongst our fellow fringers. 

If you want some respite from all the chaos in the world, I guarantee you will forget everything for 60 minutes or so in the arms of DC Colorado and its slightly psychotic residents. Bravo and yipikayay!

Cast: 

Constantine Malahias, Christopher Merlino, Lo Artiz, Joey swift, Felix Birdie, Gwynn Ballard, Jack De Sanz.

When:

Wednesday, June 22 at 7:30 P.M.

Where:

The Broadwater Main Stage

1076 Lilian Way, Hollywood 

Tickets:

https://www.hollywoodfringe.org/projects/7413?tab=tickets

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Watching the hearings over the past couple of weeks brings back a lot of very bad memories. The last election, the primaries running up to it, the terrible feelings of fear and anger that seeped into just about every moment of everything we did. Do I need to go back there again?

Well, maybe if it’s done with humour and pathos and some really excellent situational comedy. “4 Seasons Total Sh!tshow” does exactly that. 

It takes us back to those actually pretty glorious hours in the midst of all the crap where Giuliani held his press conference at the Four Seasons Landscaping, nestled snuggly between a porn shop and a mortuary…has there ever been a more perfect metaphor for the Trump administration?  This playwright certainly didn’t think so!

Other than the obvious triggers this show would offer to about 70% of this country and most of the rest of the planet, “4 Seasons Total Sh!tshow” is a very welcome comic respite amidst the current political cacophony.  

The panicked staff try with all their might and some terribly dated tech to figure out how to get a positive spin on Giuliani and Trump’s out-of-the-blue invitation on Twitter to a press conference that had never been set up, that the actual Four Seasons had refused to host and that also served no purposed whatsoever in the grand scheme of the Trump administration’s sinking ship.  

It’s a very funny 40 minutes or so of highly ironic madcap and totally irrational and reactionary action, which might seem a bit ridiculous if it was about any other time and any other place. However, it could actually have been a ‘word for word’ of what occurred that day. 

I would totally believe it if you were to tell me that.  The cast brilliantly sends up Trump staffers, all skittering around trying desperately to make this work. There’s no balance needed, there’s a little irony in one of the staffers who has a slightly more critical position, but he’s blown away by the fiery and psychotically committed lead staffer, Keri. The play runs through to just before Giuliani steps up to the mic and begins his rant, with his hair dye running like rivers of blood down his face. I can hardly believe that was real…and yet.

Thank you, Aaron and Hiro, and the entire cast for giving us something to laugh at while we still have a sense of humour about this stuff. 

I was worried that it might have been too soon, or bad timing, but it was absolutely bloody perfect. American sarcasm at its best, irony is not dead, and thanks for the memories!

Cast:

Starring Maddy Bryan, Pranav Dev, Sam Lassiter, Ryan Leonard, Zaya Kolia, Christian Lowery, Sam Vidos, and Caiti Wiggins.

When:

June 20, 2022 (8PM-9PM)

June 22, 2022 (6PM-7PM)

June 25, 2022 (5PM-6PM)

Where:

Asylum @ Stephanie Feury Studio Theatre 

5636 Melrose Ave., Los Angeles, CA 90038

Tickets:

https://www.hollywoodfringe.org/projects/7554?tab=tickets

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Alex McSherry is no stranger to Fringe. Although this is his first Hollywood Fringe Festival, he has more than 30 Edinburgh Fringe shows under his belt, as well as 40 years in the business of acting, writing and directing. His latest play, “The Tanner” combines his love of history with his love of writing and performing, and chronicles the battles fought against the English by the infamous and much loved Scott, William Wallace.  Being a tanner is his trade, but like many men in his day, he fought for his country when called upon, and he was called upon many times during the reign of the reviled King Edward I of England during the late twelfth century.

The play begins in the early morning as the tanner wakes in his chair. He proceeds with his usual routine, piddling in a bucket for longer than seems entirely possible, checking on his tanning hides in said same bucket and rinsing out his mouth from the previous night’s whisky and beer in, you guessed it, the same bucket. Well, it was the 12th century I suppose. He addresses us, as if guests in his house, and then begins to tell his tale of war and family and lost loves. Although he is a warrior at heart, he loves his maker, his family and his country in seemingly equal measure. But, as we discover, his family is long dead, one son in a battle and another to childhood illness, and his wife to grief.  Yet, he remains, much to his wonder and he takes comfort in the belief that he will join them all soon.

But this play is as much about the battles as the nanner. He is our guide through a first-hand retelling of the battles of Stirling Bridge and Falkirk, battles in the first war for Scottish independence where the Scotts defeated the English army so brutally and completely that it became legend, and then were in turn defeated at Falkirk. Our guide puts us in the thick of it, ax in hand, following the orders of Wallace, and side by side with his young son. With vivid detail, he paints a picture of the day. The steam of the horses’ breath, the screams of the men, the anger from years of hatred and defiance.  He describes every moment of the fights, the strategies, the bravery and the death. How they were standing in the blood and the mud and the shit of their enemy and how all men die the same in the end. 

“The Tanner” is brutal, yes, but deeply beautiful, poetic and heartfelt. There’s no blood lust really in his prose, only justice and pride and a love of his fellow countrymen. 

Alex McSherry is astonishing in “The Tanner.” Totally present, a born storyteller he strides about the stage flexing and thrusting and with his arms wide he beguiles us with his giant Scottish heart. 

I left sniffling, deeply moved and flushed with his words still ringing in my ears. I’m English and happy to be, but there’s much I’m sorry for in my country’s past, and the times we are in demand a retelling of ancient wrongs and an understanding of the sacrifices many made. 

“The Tanner” is a work of art, truly.  I urge you to see this master class of story and stage acting. Bloody bravo indeed!

When:

Saturday, June 18, 11:30 p.m.

Wednesday, June 22, 6:30 p.m.

Friday, June 24, 8:30 p.m.

Saturday, June 25, 10:30 p.m.

Where:

The Broadwater Black Box
6322 Santa Monica Blvd., Los Angeles, CA 90038

Tickets:

https://www.hollywoodfringe.org/projects/7529?tab=tickets

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“Cassandra” is a musical based on the story from Greek mythology of Cassandra, the ‘other’ daughter of the king of Troy who caught Apollo’s eye. He gave her the gift of prophecy, but when she refused his advances, he twisted it.  She would still know the future, but no one would ever believe her. Brutal.

It’s also a great premise for a play, particularly a Hollywood Fringe play, and an even better one for a musical.  

The story of Cassandra set to the music of the iconic Patti Smith is an inspired choice. Her lyrics are already so full of mythical references and full of glorious feminist ideology, which work perfectly for Cassandra’s story. 

She refused the advances of a god…and he made it so no one would ever believe her? Isn’t that a story we have heard throughout history. 

I confess to not knowing much about Cassandra before this play, I have educated myself a bit, at least through Wikipedia.  Did you know that there is such a thing as the Cassandra Syndrome? Someone who suffers, attempts to share it and is disbelieved by others. Poor Cassandra! 

This play is really quite beautiful, the cast is excellent and they totally pull off the mythology of this sad story. They use the songs to further the narrative, so cleverly in fact that the songs seem written for the show. 

There are three fates, all female and fabulously different from each other, which is surreal and interesting in and of itself, and all utterly brilliant. Then there is Cassandra. A strong beautiful woman with cascading hair and a kind of magical physical grace as she twists and spins and contorts during her trance-like predictions. And there is an Apollo, far too handsome for such a spiteful god, but he’s excellent too. It’s such a fun show, all weird and wonderful, but there is this underlying truth to it.  Cassandra is such an interesting character and this show never shies away from her deeply difficult and heartbreaking circumstance. Cursed to watch her family destroyed even though she tries to warn them over and over again. 

It’s a lesson for our age perhaps. You never know how unintended consequences can alter absolutely everything. To listen, even when we don’t want to hear. To always check yourself, never ignore your instincts and always, always stay away from vengeful gods, even if they are handsome.  

Cassandra’s sad story, set to beautiful, meaningful music from an iconic female musician who always is herself above all else is a gloriously surprising find of the Hollywood Fringe. Get your culture on people and see this brilliant show!

Cast:

Ada Marinelli, Hannah Howdy, Sofia Brager, Thurzday Lyons, RJ Dawson

When:

Saturday, June 18 – 8:30 p.m.

Sunday, June 19 – 1 p.m.

Saturday, June 25 – 2 p.m.

*All shows will also be streamed.

Where:

Studio Stage
520 Western Ave., Los Angeles, CA 90004

Tickets:

https://www.hollywoodfringe.org/projects/7512?tab=tickets

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Aditya Putcha’s play “Mother Grace” poses the question, can a life of attrition balance the burden of a violent crime?  

A young boy is abused and neglected by his mother, he seeks comfort in the welcoming arms of a neighbor only to be sexually abused by her. Then, searching for company and love, he frequents a sex club and falls for one of the mistresses. After realising she has a boyfriend, he becomes angry and rapes her. Although he tries to kill himself and is taken in by a visiting chaplain at the hospital he is taken to he never really repents or even reaches out to the woman he thought he loved. 

Years later, after becoming the leading chaplain of the church that took him in and after helping many people for many years, the woman he raped finds him again and confronts him threatening to expose him to his congregation. He must decide to admit his sin and beg forgiveness or to run. 

This man was brutalised as a child, emotionally and physically. He was taken advantage of, and it twisted his understanding of love and sex. However, is this enough of an excuse for what he did? Is there ever any kind of excuse for that? Personally, I think not. But this play really does lay out the life and everything in it that brought him to the moment.  Sexual abuse is so prevalent in our world. It filters through class and economics and race and color and occupation. It happens to young and old, sex workers and priests. There is nowhere it can’t reach. Talking about it, refusing to let it stay in the shadows can only do good. 

This play boldly asks the question, are we as bad as our worst moments, or can we be measured by more than that? It’s well written, very creative and all the actors do an excellent job with a very difficult subject. 

Cast:

Starring: Leslie Foumberg, Charlotte Frøyland, Sydney Grey, Julia Linger, Tristan Meyers, Linda Nile, Wade Oxford, Richard Page, and Christine Viviers. 

When:

Thursday June 23 at 9:30 PM

Sunday June 26 at 12:00 PM

Video On Demand tickets are also available.

Where:

5636 Melrose Ave., Los Angeles, 90038

Tickets:

https://www.hollywoodfringe.org/projects/7085?tab=tickets

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Becky Feldman’s one-woman show “Tight” hilariously chronicles her ongoing issues with pelvic pain and sexual dysfunction. The mysteries of the female anatomy have puzzled learned men for millennia. So apparently they gave up. You might imagine that by now all kinds of therapeutics and medicines and highly developed surgical procedures would be available for such a vital portion of the population and their, frankly indispensable, genitalia. Should I really be surprised that there is not? 

Becky Feldman leads us step by step through the problems she has with her vagina, as well as the impact it has had on her romantic life and where she thought she might be by now.  Married with children anyone? Of course that’s not all it’s cracked up to be and Becky knows this.  And as she tells us all about the therapeutic nesting dildos, the numbing creams, the various inept boyfriends, her sex therapy and vulva massage experiences, and most importantly her hopefulness, she does so in the most brilliantly funny and endearing way. 

Becky’s deadpan and truthful humour, delivered with searing wit and near scientific detail had me weeping with joy and laughter. 

Sorry, Becky. She has opened up an entirely new world I knew absolutely nothing about, and I’m a woman!  Unnerving doctor visits abound as she navigates the ins and outs of the gynecological world, so to speak. The show is sublime, there is an actual cuddly toy vulva, which I am tempted to re-create for my granddaughter. 

Becky Feldman is an utterly brilliant and gifted comedic actress and writer. This show is just one of her many gifts to the universe. 

She has a podcast, “Too Stupid to Live” where she reviews romance novels with guests (which I am now subscribed to), and is a frequent guest star on comedy shows, and writes her own shorts and series for Funny or Die.

This play was packed the night I saw it, so clearly the word is out about Becky and her nesting dildos. I predict many Hollywood Fringe accolades for this brilliant lady…I will never look at vaginas in quite the same way again! Bravo Becky…bravo.

Find out more about “Tight” and Becky Feldman:

https://www.tight-show.com

https://www.beckyfeldman.com

When:

Thursday, June 16 at 7pm

Saturday, June 18 at 10:30pm

Friday, June 24 at 7pm

Where:

Studio Stage

520 N Western Ave, Los Angeles, 90004

Tickets:

https://www.hollywoodfringe.org/projects/7296

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