Minnesota Fringe Festival 2026: "A Confluence of Magical Arseholes"

Day: 4

Show: 14

Title: A Confluence of Magical Arseholes

Category: Comedy / Musical Theater / Original Music / Historical content

By: The Winding Sheet Outfit

Created by: The Winding Sheet Outfit

Location: Rarig Stoll Thrust

Summary: The bizarre true story of the Hermetic Order of the Golden Dawn, whose most famous member was the Irish poet William Butler Yeats.

Highlights: Leave it to Winding Sheet to find yet another weird story from history, and turn it into some very clever and inventive theater. Although a little sillier and goofier than their previous work (as on-stage director Amber Bjork says, it's a "boy show"), this show is a delight. The fourth-wall-breaking we're-putting-on-a-show spirit is as charming as ever, with Amber running around, breaking into the action, or watching with glee or frustration. After directing us to "the good seats" before the show, she enlists this troupe to tell the story, a story of "a supper club for dilettantes." They "try their best" at Irish accents to play Yeats (Mark Benzel), his rival the foul poet Aleister Crowley (Michael Rogers at his best rock star), the Irish revolutionary Maud Gonne (Boo Segersin), other members of the order (Dan Linden, Heather Bunch, Kristina Fjellman, and Megan Campbell Lagas), and Yeat's drinking buddies who served as the band (Derek Lee Miller, Sam Landman, and music director Joshua Schwantz). The loose plot involves a fight between Yeats and Crowley, and Yeats trying to get Maud to marry him (which she pleasantly rejects every time), but mostly it's just a whole lot of nonsense exploring this weird and ridiculous thing that really happened. There is original music, cleverly appropriate graphic Ts, and lots of golden things. It's a silly, fun, joyful, meta, hilarious, ridiculous, wonderful show.

Read all of my Fringe mini-reviews here. 

"These Old Shoes" by Transatlantic Love Affair at Illusion Theater

I didn't realize how much I've missed Transatlantic Love Affair until I saw their remount of These Old Shoes last weekend, one of my favorite shows of theirs. There's simply no one like them. An ensemble of seven people plus one musician creates an entire rich world using only their bodies, voices, and souls. It's simply exquisite. With origins in the Minnesota Fringe Festival (like many of our great small companies), TLA is a physical theater company that often adapts fairy tales or myths with their unique brand of storytelling. But this show, their first in three years, is an original story about a man moving into a retirement community, which allows for an exploration of aging, memory, relationships, and loss. It premiered at the 2013 Fringe Festival and was produced by Illusion theater in 2015, when it won Twin Cities Theater Blogger Awards for Favorite Play and Favorite Actor in a Play (Derek Lee Miller). I've always loved this show, but having spent some time in a nursing home recently, it was particularly resonant for me this time. It's heart-breakingly beautiful, and I cannot recommend it highly enough. See it at Illusion Theater in their new home in the Center for Performing Arts in South Minneapolis, Wednesdays through Sundays for the next two weeks only.

"The Devout" by Transatlantic Love Affair at Illusion Theater

In their first all female ensemble piece, devised physical theater troupe Transatlantic Love Affair takes on the myth of Medusa. If I didn't know that going in, I wouldn't have known it from the show, which is typical of TLA's reimagining of fairy tales that is more about exploring the theme than telling the exact same story as we think we know it. In this case, Director Isabel Nelson and assistant director Joy Dolo have focused on this part of the Medusa myth (per Wikipedia): "In a late version of the Medusa myth, related by the Roman poet Ovid (Metamorphoses 4.770), Medusa was originally a ravishingly beautiful maiden, 'the jealous aspiration of many suitors,' but because Poseidon had raped her in Athena's temple, the enraged Athena transformed Medusa's beautiful hair to serpents and made her face so terrible to behold that the mere sight of it would turn onlookers to stone. In Ovid's telling, Perseus describes Medusa's punishment by Minerva (Athena) as just and well earned." This is 2019, and we won't stand for that anymore. TLA imagines a world in which Medusa (here called Demeres) isn't punished for being raped, but rather is supported by her sisters while her attackers are brought to justice. That's a wonderful narrative to put out into the world, and the six-person ensemble does so with TLA's trademark beautiful and evocative physicality.

"The Visit" by Frank Theatre at the Minnesota Transportation Museum

To open their 30th season, intrepid nomadic #TCTheater company Frank Theatre is bringing us The Visit in the Minnesota Transportation Museum. This is actually the second play I've seen in this unique and super cool venue (see also Wayward and Mission's co-production of Ghost Train). Both plays are set (at least partly) in a train station, so the museum is a perfect location. Filled with vintage train equipment and displays (which you can wander through before the show and at intermission), the museum is fascinating but also kind of dark and creepy and cold, and smells a little like a garage. Which is the perfect atmosphere for Swiss playwright Friedrich Dürrenmatt's absurd "tragicomic" play. This is a very Frank play, with a huge and talented cast and great commitment to the highly stylized design and tone of the play.

"The Privateer" by Transatlantic Love Affair at Illusion Theater

Introducing opening night of Transatlantic Love Affair's newest creation The Privateer, TLA company member and first-time director Derek Lee Miller humbly said, you don't want to hear me lecture about pirates for an hour and a half. As someone who quite enjoyed listening to him lecture about bananas for an hour this summer, I most certainly do want to listen to Derek Lee Miller lecture about pirates! Because it would be sure to be fascinating and educational and delightfully nerdy. But even better than a lecture, this excellent company tells a story about pirates through movement, words, and music. TLA fans are sure to love this new, exciting, dangerous tale. And if you haven't seen TLA before, what are you waiting for?!

"Sunrise at Midnight" by Taous Claire Khazem at Dreamland Arts

One of the things I most appreciate about theater is the opportunity to learn about cultures different from my own. Where else am I going to experience Algerian folktales? #TCTheater artist Taous Claire Khazem* has brought the folktales of her father's native land right here to St. Paul, and recruited some of her fellow artists to tell the stories in an inventive, engaging, and movement-filled way. Sunrise at Midnight can be seen for eight performances only at the charming and intimate Dreamland Arts, and the performance I attended was sold out (or very nearly), so act fast to catch this unique theater offering (info and tickets here).

"Citizen: An American Lyric" by Frank Theatre at Intermedia Arts

Frank Theatre describes their latest production as follows:

A searing representation of the current American zeitgeist, CITIZEN: AN AMERICAN LYRIC [by Claudia Rankine] is a boundary-bending work of poetry/prose/criticism, adapted for the stage by Stephen Sachs. A 6-member "ensemble piece... floats between dream and reality, narration and performance, and challenges its audience's perceptions," as it examines the ways racism pervades daily life in America, from highly visible news accounts to the daily microaggressions that render certain citizens invisible in our culture.

That's a pretty apt description for this piece that is more than theater, it's a lesson for how to be in this world. But it doesn't feel like a lesson, it doesn't feel preachy, rather it lays bare the flaws in our society in the way that we deal with race, historically and currently. Only four more performances remain this weekend, and if you're interested in a powerful, disturbing, and transfixing piece of theater that goes beyond mere performance, I recommend that you reserve your tickets now (the show I attended was sold out).

A Reading of "queens" at Playwrights' Center

"Now in its 12th year, the Ruth Easton New Play Series gives selected Core Writers 20 hours with collaborators to workshop their script—to write, rewrite, experiment, and shape their work. For playwrights, this means great leaps forward for their plays. For audiences, this means a thrilling and intimate night of theater."

I attended my second "thrilling and intimate night of theater" as part of the 2016-2017 series last night (see also December's Wink by Jen Silverman). It was a clear, cold, snowy, moonlit night, perfect for gathering with fellow theater-lovers and theater-makers to experience a new work of theater. And what an exciting new work Martyna Majok's queens is. Although unfinished (the 3rd act has yet to be written and was described in a few sentences), it drew me right into the world of the play and made me care about these characters. I look forward to seeing the full work onstage sometime in the coming years, but in the meantime, it was a thrill to be a part of the play development process at Playwrights' Center, something they do so well.

"What Fools These Mortals Be" by Interact Theater at the Lab Theater

Interact Center for Visual and Performing Arts is celebrating 20 years of "creating art that challenges perceptions of disability." In one of the finest examples of inclusivity in theater, Interact provides opportunities for artists with disabilities to share their work, which allows the audience to see beyond the disability to the artist and the art that they create. I attended a performance by Interact Theater for the first time this weekend, a mish-mash of Shakespeare plays called What Fools These Mortals Be, written by and starring beloved local storyteller extraordinaire Kevin Kling. I was completely charmed by the performance. It's such a beautiful thing to see people of various abilities working together to create art. What Fools is filled with much humor and heart, and a spirit of playfulness often lacking in Shakespeare. Ten Thousand Things shows us that "theater is better when everyone is in the audience," and Interact shows us that theater is better when everyone is on the stage.

"105 Proof; or, the Killing of Mack 'The Silencer' Klein" by Transatlantic Love Affair at Illusion Theater

Since being mesmerized by Ash Land at the 2012 Minnesota Fringe Festival, I've been a loyal follower of Transatlantic Love Affair, the physical theater troupe that casts a spell and weaves a dream by using nothing but their bodies, voices, hearts, and souls to tell stories. Their subjects are typically very loose retellings of fairy or folk tales (Cinderella in Ash Land, Little Red Riding Hood in Red Resurrected, the legend of the Selkie in The Ballad of the Pale Fisherman), but recently they've developed original stories including the memory play These Old Shoes and the modern-day love story emilie/eurydice. Most of their shows premiere at the Fringe, but thanks to their partnership with Illusion Theater, they, and we the audience, often get a chance to revisit the stories in a slightly expanded version. Such is the case with 105 Proof; or, the Killing of Mack "The Silencer" Klein, which debuted at the 2015 Fringe. 105 Proof is another original story, but one with a decidedly different tone than their other work. The tale of a small town boy who becomes a Chicago mobster in the Prohibition era is darker, grittier, more suspenseful, and also funnier than their usual dreamy tales. But what's not different is the way the cast (most of whom were in the original production) and live musical soundtrack create an entire world of the imagination that feels real and all-encompassing.

"Ballad of the Pale Fisherman" by Transatlantic Love Affair at the Southern Theater

Devised physical theater company Transatlantic Love Affair won an Ivey in 2012 for Ballad of the Pale Fisherman, an original work based on the legend of the selkie, a seal who takes human form. I did not see that production (part of Illusion Theater's "Fresh Ink" series), having only "discovered" TLA shortly before their Ivey win through their Fringe show Ash Land. I saw it at the final "audience pick" show because it was the talk of the festival that year. Seeing TLA for the first time was one of the most moving theater experiences I've had, and I haven't missed a show since. I'm thrilled they're bringing back Ballad of the Pale Fisherman as part of the Southern's ARTshare program. Seeing it last night, it's obvious why it won the Ivey (but then, I would give them an Ivey for every one of their shows, and in fact the Twin Cities Theater Bloggers awarded them two "favorites" last year). No one casts a spell like Transatlantic Love Affair, as they tell a story and create an entire world with nothing but their bodies, voices, and souls. Ballad of the Pale Fisherman is an achingly beautiful and completely engrossing 75 minutes of storytelling.

"emilie/eurydice" by Transatlantic Love Affair at Illusion Theater

I love Transatlantic Love Affair, the Fringe Festival darlings who often work with Illusion Theater to continue to develop a piece after the Fringe. What they do is so unique and special, telling a story with no set or props, using their bodies and voices to create everything in a very specific world. The result is often achingly beautiful. Their new piece, emilie/eurydice, did not appear in the Fringe (maybe because they didn't get in last year) and is instead premiering at the Illusion. This original story of a woman in a coma and those who love her is another example of the beautiful storytelling that TLA does.

Fringe Festival 2015: "105 Proof or The Killing Of Mack "The Silencer" Klein"

Day: 6

Show: 25 

Title: 105 Proof or The Killing Of Mack "The Silencer" Klein

Category: Drama

By: Transatlantic Love Affair

Created by: Diogo Lopes and the ensemble

Location: Ritz Theater Proscenium

Summary: A young man from a small town gets involved with a Chicago mob when he begins to sell his grandfather's moonshine during Prohibition.

Highlights: Transatlantic Love Affair applies their beautiful and evocative physical theater style to an original story that's a bit darker and more dangerous than their past shows. This story of how a small town boy becomes a Prohibition bootlegger still has plenty of lovely moments in the way this eight-person cast creates everything in this very specific world using just their bodies and voices, with no props or set. But there's also a sense of danger and suspense as the stakes keep getting higher for the ambitious Jonathan and his brother as they get deeper into the world of the Chicago mobsters. The human moonshine still is impressive, the car chases are playful, the creak of the door is consistant, and the gunfights are so fast and sudden and lifelike that I wanted to hit the rewind button and watch them again. 105 Proof has all of the playfulness and inventiveness we've come to expect from TLA, but applied to a story that's not so dreamy and more sinister, deepening the range of stories TLA can tell. The cast is, as always, beautifully specific in their creation of multiple characters and inanimate objects, and it's nice to see some new faces (Amber Bjork, George Dornbach, and Eric Marinus) alongside TLA veterans (Heather Bunch, Peyton McCandless, Derek Lee Miller, Allison Witham, and Nick Wolf). If you've never seen a TLA show before, what are you waiting for? And if you're a die hard fan like I am, 105 Proof will show you another side of them.

"These Old Shoes" by Transatlantic Love Affair at Illusion Theater

I'll never forget the first time I saw Transatlantic Love Affair. It was the "Audience Pick" show at the end of a long and exhausting 2012 Fringe Festival. I was tired and crabby and fringed out, but from the moment the lights went down on Ash Land, TLA transported me to another world, a world so specifically and beautifully created on a bare stage by a group of performers using nothing but their bodies, voices, and souls to communicate the story. I've seen them a number of times since then, both at the Fringe and as part of Illusion Theater's "Lights Up" series, and they continue to move me beyond what just "ordinary" theater is able to do. TLA returned to Illusion Theater last night with a remount of their 2013 Fringe hit These Old Shoes, a touching story of time, memory, regret, second chances, and long lost love rediscovered. In everything they do, TLA is nothing less than exquisite (not a word I use lightly, usually reserving it to describe the epitome of the art form that television can be, aka Mad Men). But disappointingly, the theater last night was not as full as it should have been. My goal in writing this piece is to get as many people as possible to go see These Old Shoes. You cannot call yourself a true Twin Cities theater fan if you've never seen Transatlantic Love Affair, and there's no better place to start than with this achingly lovely show.

In an original story conceived and directed by co-Artistic Director Diogo Lopes, These Old Shoes introduces us to a group of people living at a retirement community, and a man named Jim (Derek Lee Miller) who is reluctantly moving in. Jim's granddaughter Beatrice (Adelin Phelps) comes to town to help him pack up his house and move into the community. As Jim goes through his things, memories of days and people long past are stirred up. He remembers a young woman named Marjorie (Peyton McCandless) whom he once loved and planned to spend his life with, until his experience in the Korean War changed him and came between them. They both went on to live seemingly happy lives apart, but never forgot each other. I don't think it's a spoiler to say that Marjorie lives in the community that Jim is joining; the true beauty of the piece is watching the two stories unfold - past and present - and how they come together again.

In typical TLA style, there are no props or set pieces on stage. Barefoot actors in simple clothing create everything in this world - furniture, a grandfather clock, trees, doors, gravestones. They mime with invisible props. Sometimes you don't quite know what action they're miming or inanimate object they're embodying, but at other times, it's so clear you can almost see it. As we move from the past to the present, each of the ensemble members (also including Heather Bunch, Eric Nelson, co-Artistic Director Isabel Nelson, and Allison Witham) physically transforms from a young person to an old person, each in their own unique and specific way, whether it's the subtle droop of the shoulders and sinking inward, or a back that's fully bent over, or a slower less stable way of walking. Age affects people differently, and this cast allows you to see those differences. One addition to the piece since the Fringe version is that we get to see each of the members of the retirement community in their past, whether as an actor, or a secretary, or a doctor. This glimpse into the past helps to flesh out each of these characters and inform who they are in the present story.

Jim polishes these old shoes of Marjorie's
(Derek Lee Miller and Peyton McCandless)

Transatlantic Love Affair also knows how to harness the power of music to maximum emotional effect. Dustin Tessier provides the soundtrack to this story on electric guitar, alternately melancholy and hopeful as the story requires. The one theatrical "trick" that's employed is the lighting (by Michael Wangen), which along with the music helps to accentuate the mood created by the ensemble. All of these pieces combine to create a world that feels so real and specific, it's positively jarring to the soul to leave the theater and go back into the real world, a world that now feels too bright and garish, and somehow colorless at the same time, compared to that sparsely beautiful world experienced on stage.

It's not possible to adequately describe what it is that Transatlanctic Love Affair does. It's a style so unique and specific, you just have to see it for yourself. Let go of what you think is reality, let your imagination take over, and let them take you on this exquisitely lovely journey. These Old Shoes is playing now through February 14. Trust me when I tell you you need to see it, and be sure to take advantage of the discount tickets on Goldstar.com.


This article also appears on Broadway World Minneapolis.

"Ash Land" by Transatlantic Love Affair at Illusion Theater

On the last night of the 2012 Fringe Festival, I went to see an "Audience Pick" show that I had been hearing a lot about. A play called Ash Land by a theater company called Transatlantic Love Affair, with which I was unfamiliar at the time. By that point in the fest I was fringed out - sick of the crowds and lines and parking and traffic. But sitting in the Rarig Center, I was completely transported by what was happening on stage in front of me and moved to tears. Such is the power and beauty of what Transatlantic Love Affair does, a style of physical theater that is so unique and special. They are currently remounting an expanded version of Ash Land as part of Illusion Theater's "Lights Up!" series, and it's just as heartbreakingly beautiful as it was the first time I saw it.

Conceived and directed by TLA's co-Artistic Director Diogo Lopes, Ash Land is a very loose re-imagining of the classic Cinderella tale, in which our heroine is now a farmer's daughter somewhere in the plains of middle America in the last century. Ellie's beloved mother dies, leaving her and her father devastated and with a farm to care for in a drought. Ellie's aunt marries her father in order to help care for her and the farm, but decides to sell it. Ellie goes to the town banker's party to try to stop the sale, where she meets his kind and handsome son. And then, it begins to rain.*

On a completely bare stage, this wonderful cast of eight (seven of whom were in the original production) create everything in the world of the story with their bodies and voices. They are the doors and windows, the waving wheat, the wind, the livestock, the water pump, furniture, a car, and most poignantly, the rain. Along with the subtle lighting (by Michael Wangen) and the melancholic sound of a steel guitar (played by Harper Zwicky), the movement of the cast is so evocative of a specific time and place that you can feel the dry heat, see the tumbleweeds blowing, and revel in the release of the long-awaited rain. The cast also sings a few songs from the traditional Americana canon that I love so much, including "Who's Gonna Shoe Your Pretty Little Foot," "Ain't No Grave," and "Poor Wayfarin' Stranger." The show has been expanded from its original Fringe length (under an hour) to about an hour and a half, which has allowed them to add a few new scenes, as well as given other scenes the room to breathe and expand a little.

Ellie (Adelin Phelps) and her mother (Isabel Nelson)
drinking lemonade on the porch swing

At the heart of this piece is the relationship between Ellie and her mother, which continues long after she dies. This relationship is beautifully expressed by the actors - Adelin Phelps as Ellie and Isabel Nelson (the other co-Artistic Director) as her mother. Along with Derek Lee Miller as Ellie's father, you can truly feel the love and loss in this family trio. Adelin is just wonderful as our heroine, with an open expressive face. Heather Bunch brings a gritty humanity to the role of the "evil stepmother." Nick Wolf, as the banker's son, is the one new ensemble member and fits right in, tall and lanky and adorably awkward when confronting Ellie. All of the other roles of the animal, vegetable, and mineral variety are filled by these actors along with Peytie McCandless, Eric Nelson, and Allison Witham.

Ash Land plays through February 22, and if you've never seen Transatlantic Love Affair before, you really need to experience their unique and beautiful style of theater. And with tickets for as low as $5 on Goldstar, you'd be a fool to miss this one! (Tip: bring tissues.)

I'll leave you with how I concluded my blog the first time I saw the show.

Friends, this one really touched me. And that's all I ask from theater - to move me in some way, whether it's to laughter or tears, or a different way of thinking about something, or a different way of seeing something. To leave the theater knowing that I'm different than when I walked in, that I've been forever changed (in some small way) by what I've seen. That's what this show did for me. 

*Yes, I plagiarized myself by copying the plot summary from my previous post about the show.

"Red Resurrected" by Transatlantic Love Affair at Illusion Theater

My favorite show of the 2012 Minnesota Fringe Festival was Transatlantic Love Affair's Ash Land. I was incredibly moved by their simple and eloquent storytelling; the company of actors created a rich and complex world using nothing but their bodies and voices. I was completely transported into another world, which is all I ask for from theater. Transatlantic Love Affair's 2011 Fringe hit Red Resurrected is currently being presented as part of Illusion Theater's "Lights Up!" series. Like Ash Land, it's another innovative piece of theater, and it deserves a much larger audience than the one at the Illusion Theater last night. At just 70 minutes, it's well worth your time to see something fresh and unexpected and completely lovely.

Red Resurrected, written and directed by 2012 Ivey emerging artist Isabel Nelson, loosely re-imagines the familiar fairy tale of Little Red Riding Hood, combining it with other myths and legends in a way that makes it feel like a completely new story, yet familiar. Red lives in a small town called Primrose in the hills of Appalachia; she has no family of her own, and instead is literally being raised by the village. She's a happy child, doing chores and playing with her friends, but warned never to go down to the woods. Red is fascinated by the woods, and as she grows up she begins to find that the woods are the only place she feels at home. When her safe and familiar world is shaken (the wolves that young women face are not always of the canine variety, but are just as dangerous), she escapes into the woods on a path that runs west out of Primrose. There she meets a woman who can heal the broken, and learns from her. Eventually she decides to return home to see if she can bring healing to her friends and family in the village.

the wise woman and Red in her hut in the woods

In Transatlantic Love Affair's signature style, this seven person cast tells their story on a completely bare stage with not a single set piece or prop. This is a true company; all of them have appeared in previous TLA shows, and that connectedness shows. At times they move as one unit, representing everything in Red's world from the trees to the dripping faucet to every sound you've ever heard in the woods. They also beautifully sing traditional Appalachian music, which adds so much in creating this world. I hesitate to call out any members of this true ensemble because they're all just wonderful, but I will. Heather Bunch brings levity to her role as Red's friend and the grim Mrs. Quinn, but also brings out the serious side of both of these characters. Anna Reichert is also great as the narrator and wise woman of the woods, and Adelin Phelps once again embodies a completely relatable heroine to root for.

the family sits down at the dinner table

I love the way that Transatlantic Love Affair tells such simple and beautiful stories, combining movement, music, and words in a completely innovative way. It's really indescribable, so you should go see it for yourself (playing at the Illusion Theater in downtown Minneapolis now through March 2). If I may paraphrase the moving final words of the show, sometimes a woman finds herself on a path in the woods, fixing things that are broken, singing with a full voice to the mountains. I'll camp a little while in the wilderness, and then I'm goin' home.

Fringe Festival 2012: Ash Land

Day: 5

Show: 16

Title: Ash Land

By: Transatlantic Love Affair

Created by: Diego Lopez

Location: Rarig Thrust

Summary: A very loose re-imagining of the classic Cinderella tale, in which our heroine is now a farmer's daughter somewhere in the plains of middle America in the last century. Ellie's beloved mother dies, leaving her and her father devastated and with a farm to care for in a drought. Ellie's aunt marries her father in order to help care for her and the farm, but decides to sell it. Ellie goes to the town banker's party to try to stop the sale, where she meets his kind and handsome son. And then, it begins to rain.

Highlights: I saw this show at the Sunday night "Audience Pick" encore performance, and I'm so grateful I had a chance to see it. I found it to be achingly beautiful. A steel guitar (played by Harper Zwicky) accompanies the action and sets the tone for the show (if there's an instrument more mournful than a steel guitar, I've never heard it). Transatlantic Love Affair (what a cool name for a theater company) does physical theater (see also Live Action Set), which means that the eight actors in the cast portray everything in the world they create, not just the characters. They are the waving wheat, the water pump, the pigs, the doors and windows, the car, and most delightfully - the rain. It's so playful and inventive, and reminds me of a phrase I often use to describe Ten Thousand Things - the power of collective imagination. With zero props or set pieces the cast (with the help of the music) is able to transport everyone in the room to a specific time and place. Of special note in the cast are Adelin Phelps as our heroine Ellie, Derek Lee Miller as her grief-stricken father, Isabel Nelson as her gone but not forgotten mother (you can just feel the love between them in this sweet little family), and Heather Bunch as the "evil" stepmother, who's just trying to get by like everyone else. This is the first show I've seen by Transatlantic Love Affair; I missed Ballad of the Pale Fisherman when it was at Illusion Theater earlier this year, but you can bet I won't make that mistake again when Illusion again hosts them for Red Resurrected early next year.

Friends, this one really touched me. And that's all I ask from theater - to move me in some way, whether it's to laughter or tears, or a different way of thinking about something, or a different way of seeing something. To leave the theater knowing that I'm different than when I walked in, that I've been forever changed (in some small way) by what I've seen. That's what this show did for me. What a wonderful way to end an amazing Fringe Festival.

Read more of my fringe fest reflections...