It wasn’t hard to select my favorite musicals of this year’s Capital Fringe Festival ( I’ll get to them in just a minute) because so many of this year’s so-called musicals sucked. The majority of them had poorly written scores, books, and lyrics, and casts that couldn’t sing in key if their lives depended on it.
I sat through actors screaming at the top of their lungs and throwing paper around. I listened to badly recorded tracks, watched bad acting, listened to numerous “shock the audience songs” which had nothing to with the show or the story, and saw so many missed opportunities to introduce the characters in song to the audience. I sat in bewilderment as sets were moved over and over again. It was insufferable – worse than the horrible humidity and sizzling heat that greeted me at many of the venues where these shows played. The paying audience deserved better and so did the actors who were in these shows.
Thank God there were some real gems this year. As many of you know, I write about young actors in our area in this column and my Scene Stealers articles, and this year, I wrote two “Favorite 2010 Fringe Musical Performances” articles, because I did find some wonderful performances. It really pained me that I had to pan some musicals that had many of my Scene Stealers in it because the show was not up to snuff.
Some actors called me after their shows were rated low by local reviewers and asked my advice. So here goes, “Choose wisely.”
And then there were the belligerent composers and/or producers that left immature rants in our comments sections that they received a low rating because our reviewers were racist or were intolerant of their sexual orientation. My advice to them? “Grow up – and have you ever considered taking up the clarinet?”
Before you all attack me with “That’s what the Fringe is about!” and “screw you!”- and “we didn’t have any money” and “this is the first time I have written a show” – let me tell you something. One thing I am proud about is that in the five years that the Capital Fringe Festival has graced our city, is that the quality of the plays and, at times, the musicals has greatly improved. If you take the risk of putting on a bad production, you risk getting called on it by the local reviews and Fringe-goers who leave comments. So learn from the reviews and comments.
Just look at DCTS’s reviews and ratings on our Fringe Page, and you’ll see that DCTS reviewers gave 35 shows a top rating. Only one original musical – When ET Flew Over the Cuckoo’s Nest”- was given the top 5 rating and the other six “must see” ratings went to a Gilbert and Sullivan operetta, two new short operas, a revue, a improvised musical, and a cabaret. All of these wonderful productions deserved their top ratings.
So I am making an offer to all this year’s musical producers whose shows we and I didn’t like. Email me at [email protected] and I’ll call you back and let’s have a frank, civil, and constructive talk about your show.
Whew! Now that that’s out of the way, let’s talk about the positives!
My Favorite Musicals of the Fringe: (You can read more details about the cast and score and book here and here:
(1) The Poet Warriors: It was my favorite musical of this year’s Capital Fringe Festival, and I am confident that it will find a wider audience in the future. With an intelligent and beautifully written book, score, and lyrics by George Purefoy Tilson, this show had a wondrous cast of extraordinary singers and actors – Jase Parker, Rachel Brook, Jonathan Henson, Ben Levine, Alan Naylor, and Jamie Ogden whose angelic harmonies and heart-felt performances earned a long standing ovation by the audience and this writer. Thanks, George, for bringing this amazing production to DC audiences. It was an honor to be part of the audience at the final performance. I saw a local Artistic Director in tears applauding wildly. I hope she will bring the show to her theatre. Two hours never moved so quickly and so elegantly
(2) Lysistrata … the musical! Now for those of you who want to write something silly and historical, this is a great show to learn from. Filled with a clever score and lyrics by Jeremy King and Vishal Vaidya, and a cast that consisted of funny actors and great singers, including Autumn Seavey, Chip Hewett, Katie Nigsch Fairfax, Tim Adams, Ali Hoxie, Mia Branco, Arden Moscati, and Chelsea Rae-Abbate, this is the Fringe show that made me smile and laugh the most. Sheer fun and lots of togas.
(3) Galactica in Irrelevant Acts of Entertainment: 90 minutes of classy and amazing lypsyncing by Jeffrey Johnson and “his three adorable boys”. The one show I wish I had time to go back and see again and again. I had a blast!
(4) When ET Flew Over The Cuckoo’s Nest: Here’s an example of a “Fringy” off-the-wall plot that had a rocking live band and an amazing cast that sang the hell out of a wonderful score. It was rock heaven. And the best thing? I was introduced to the amazing Emily Webbe and Randall Holloway.
(5) Oblivion: A gorgeous, classy, beautifully sung new short opera by Kyle Gullings that has some of the most beautiful singing in the Fringe by James Rogers, Rachel Evangeline Barham, Alexander Wolniak, Melissa Kornacki, and Christine Gahagan.
(6) Super Claudio Brothers- the New Video Game Musical: Fringe Festival audiences were treated to a funny musical with great performances and sheer fun thanks to Signature favorites Stephen Gregory Smith, Harry Winter, Sam Ludwig, and Chris Sizemore playing eggplants on their knees and Gia Mora and Lauren Williams playing sibling princesses.. But it was Matthew Anderson as an insane Platypus that stole the show and made the audience howl with delight.
(7) H.M.S. Pinafore: Performed by a group of talented young singers from The G&S Youth Company, it was nice to be reminded how much great talent exists in our local high schools. What a relief to have had the opportunity to escape some of the mediocre offerings in this year’s Fringe and then slide into the Mt. Vernon United Methodist Church and be able to hear the great voices of Matt Satucci, Alexander Nicholas Bourzutschky, James Beans, Alissa Roca, Kelsey McDonell, Alfred Lawson, and a group of young enthusiastic singers that made up the ensemble.
Joel, I was reluctant to write because I could be perceived to be prejudiced… I’m George’s mother! However, I saw the show twice and loved it both times. I’m proud of my son, but I think he was most fortunate to have the cast he had and the help of Jose and Patricia. They were outstanding. I, too, hope for more productions of this play.
Hi, Joel!
Thank you so much for providing this opportunity to share my thoughts about this year’s Fringe Festival. This, incidentally, happened to be my first time hearing about and attending the Fringe Festival in D.C. I’ll happily agree with you, though, in that Tilson’s “The Poet Warriors” was exceptionally fine and very well-done. In fact, from the bugle’s preluding calls to the final company number, the piece showed beautiful symmetry and creative genius in its writing, its music and its execution on stage. I will agree with you again, Joel, in that I never once glanced at my watch; the piece was so very engaging! In fact, there are many other great words to describe Tilson’s work; more than I can say here! A few quick words, however, that come to mind are: Memorable and Enjoyable–I’ve seen the show only once, but there are lines and melodies that are still with me. And I would love to see the show again in order to penetrate each layer of the work. That is to say I am not satisfied with one viewing. (This show has real classic-potential! ) Pertinent and Powerful: “The Poet Warriors” mentions current issues surrounding the effects of war and discrimination, but the work is not cheapened by dogmatic political slants and cliches. Tilson, however, shows real people and real emotions, thus sending an immedaiate and powerful connection to the hearts of the audience. It is this conneciton with the human things that makes “The Poet Warriors” Moving and Magical– The piece– despite its setting against destructive and damning war– is a celebration of humanity. The audience, therefore, experiences the gamut of human emotions, ranging from solemn tears to raucous laughter. And I really appreciated the opportunity to feel all this again. I won’t gush on anymore, but I would like to congratulate George Purefoy Tilson, Jose Luis Diaz, Patricia Woolsey and the talented cast of singers and players who combined to present this very classy, noble and praise-worthy musical. “The Poet Warriors” will endure and I’ll hope to see the show on stages around the nation in the coming seasons.
Thank you, Joel!
It’s been nearly two weeks since my two children (both 12) and I sat in the hot and dusty theater and watched Poet Warriors come alive. The three of were glued to our chairs (and it wasn’t because of the heat!) listening and watching the drama unfold. My son could see long before it happened that all three had to die but he was devastated when he turned out to be right. On the drive home we had a long discussion about the play, what it meant and what it means for today’s world. My daughter was truly upset by the song What’s it all mean? She couldn’t understand at first why one friend would push another away in a time of need but after some discussion she got it. The play came up again and again in the following few days. If the “Victoria Secret” sequence were toned down this would make an excellent play for all ages (middle schoolers think a lot– they just don’t always share it). The themes and emotions in the play are vivid, pertinent and real and isn’t that what good theater is about? For that matter is that what life is about? I truly wish I could see one more production and take every family I know to see it– it would open up so many discussions that go begging. Thanks so much George and Jose!
Randi Einbinder said it all for me – didn’t see the end coming in spite of the opening. And I too have not been able to let it go. It was an amazing ensemble production, from the extremely talented cast, to the expert direction and stage managing, to the incredible writing by George Purefoy Tilson. It was an honor to have been in the audience for the last Fringe performance of this beautiful production. After NYC, why not Louisville?!!
i saw the very first performance and left the theater in tears. though all was foretold in the very first scene, i didn’t see it coming, couldn’t let go of these characters and their sweet funny love stories. true and timeless reflection on war’s toll. plus a wonderfully efficient and evocative set, and amazing voices. i can’t wait to see it again on a new stage. my first taste of the fringe turned me into a big fan.
Beautifully written, cast, and produced!
A highlight for me was the lyrics which were at times melancholy – but most often funny as hell.
The musical’s story was masterful in demonstrating how three very different couples (on the outside) experienced the same human emotions – love, worry, loss.
Can’t wait to see this musical in New York!!!
I love the way that George intertwined the characters of Poet Warriors. As a former English and drama teacher, I found myself noting — “Oh, great symbolism” and “amazing that this cast can stay true to character with sirens outside and the front row fanning off the heat just a reach away.” We have all been touched by war, but have we paused to consider the depth of its impact on ordinary lives? This is a play to revisit in our memories. I’d love to see it again! Thanks, George, Jose & cast! And thanks Joel, for your review!
What an accomplishment! Well structured, heartfelt yet not sentimental, tuneful; music that was moving in its truth and complexity. And much more…
Thank you!
Even with the background of DC blaring (sirens, etc.) during the performance, The Poet Warriors was absolutely AMAZING! I truly hope there is an opportunity to see it again in a larger (and quieter 🙂 venue.
Thank you so much, Joel, for your wonderful review of The Poet Warriors. I must certainly agree with you and say that this cast was amazing. All of the cast and staff were awesome. Filled with so much talent. If there’s anything I love most, it’s to work with a group of individuals bursting with creativity, and energy. This by far, is the best cast I have ever worked with. Thank you all so much!!!
Thank you Joel for your wonderful review and reflections on “The Poet Warriors”. It was such an honor for me to direct this piece and very exciting to be the first to stage this wonderful work.
Thank you, Joel, for your unending support, yet again! 🙂
Joel, it was a real honor and joy working on this show and means so much that you were moved. Thank you for all you do for our theater community and for showing Poet Warriors some love!
As Rachel Brooks’ voice teacher, (she was in the cast of Poet Warriors) I was glad to see that the musical merited your mention. These things take so much time and energy from everyone involved, and yet how are aspiring composers and lyricists supposed to learn their craft without readings and productions? But if Rachel is any indication of the quality of the performers, they must have had quite a bit to do with the success at the Fringe Festival.
The company of THE POET WARRIORS is thrilled that you picked our show as your favorite. This is quite the compliment coming from such a respectable person as yourself. George was very moved to read your observations. Indeed everyone involved in the project is hoping that The Poet Warriors has an opportunity to be shared to a wider audience.
THANK YOU very much for your high praise!
“wished you could see it again and again and again” wow! Thanks Joel!!!!
In my book, anyone who has ever been inspired (insane?) enough to write a musical, and then somehow get it in front of an audience, has guts to spare. It’s an unwieldy, delicate, treacherous, and damn unforgiving art form. But god are we obsessed to write them anyway. So I am honored The Poet Warriors was in the company of this year’s line up of Capital Fringe musicals.
Joel — as the author/composer of The Poet Warriors, I greatly appreciate your generous observations about our show, and your opinion that we have an original musical worthy of further productions.
Any writer who has the good fortune of a remarkable cast such as ours, a visionary dramaturg in the form of our director Patricia Woolsey, and a fantastic producer/designer like Jose Luis Diaz, knows a musical can never exist without the right collaborators. So I thank them all from the bottom of my heart. And I wish all the best to those other gutsy writers and composers!
How can a person ever hope to improve if they are not held to some sort of critical standard? Weirdly enough, I’m actually proud to have received critical or negative reviews – it means what I did had a high enough value to be held to that standard, or rather, that the critic was actually paying attention and wasn’t simply playing “let’s mention everyone’s name and find something nice to say!” game. It gives me respect for the journalist and makes me work harder as an artist, and I’m happy to say that I’ve grown as a result. So I say keep up the good work, DCTS, and hopefully we have many more great musicals next Fringe, some written by these same writers, maybe even to spite you guys. I’m sure nothing would make you happier.