By Alan Jozwiak
PUPPETS!
Several shows in the Cincinnati Fringe 2026 heavily used puppets–from hand puppets, to shadow puppets, a handkerchief, marionettes, Barbie dolls–and Ken, and so many more–usually at the “Puppet Pit” at the First Lutheran Church across from Washington Park. Here are just two
Transcendent by Queen City Queers (Cincinnati, OH)
Queen City Queers is back at the Cincinnati Fringe with Transcendent, a decidedly adult all-puppet show. In Transcendent, they craft a series of vignettes about the problems and possibilities of being trans. The cast—Rachel (serving also as producer), Alaysha, Emily, Leah, and Cassiopia (no last names given)—do a good job creating and manipulating a wide range of puppets. They have Buttons (who transitions from female to male), Frankie (a Frankenstein-looking monster), Sally the Salamander, and a surprise puppet at the end they refer to as Jesus. (See the show to experience this one in action.)
This is an ambitious puppet show. It has something to say, and there are times where it succeeds admirably. Buttons’ problem of driving with a driver’s license bearing an X instead of a gender designation is compelling. Similarly, Rachel’s monologue about stopping his HRT (hormone replacement therapy) is solid theatre. However, these stronger moments are balanced by other vignettes where the meaning falls short. For example, the scene about HRT that appears before Rachel’s HRT explanatory monologue left me a bit lost—the meaning behind the bottles is never explained.
Queen City Queers is a relatively new company. Like many up-and-coming theater professionals, they are learning to balance the technical aspects of theater-making with a firm vision of what they want to say. They are a group with a lot to say. As they develop as theater artists, I hope their ability to communicate those ideas in a theatrical form will only sharpen.
In short, Transcendent is for audience members who are interested in puppetry, support trans fringe performers, and like to see more adventurous theatre.
Note: This puppet show is definitely not for children. The opening scene alone proves this is not for anyone under their teens.
White Whale by Autumn Kaleidoscope & Mette Puppets (Cincinnati, OH)
White whales on display in Cincinnati? It actually happened.
White Whale tells the remarkable true story of three white whales exhibited in Cincinnati during the Fourth of July holiday in 1877.
Puppeteer Sean Mette brings the story to life through shadow puppetry, hand puppets, and a lighted scrolling backdrop filled with hand-drawn illustrations. The production follows the lives of the three whales—Featherstone, Lightning, and Sata—as well as their owner, local businessman Albert Akemy Stewart.
Mette wisely creates backstories for the whales, humanizing them and earning the audience’s sympathy. As a result, their capture and transport become all the more dramatic. The story highlights the cruelty of treating living beings as commodities. Torn from their families, transported in harsh conditions, and displayed for paying audiences, the whales’ experience evokes other historical systems of exploitation and forced captivity.
I won’t reveal the fate of the whales or Stewart, as doing so would spoil the show. The piece is engaging throughout and sheds light on a little-known chapter of Cincinnati history. Mette also makes effective use of projections depicting Cincinnati in the 1870s. Displayed high above the performance space, they add considerable atmosphere and visual interest. These images can also be found in the show’s elaborate digital program, which is worth exploring after the performance.
While there is much to admire, the production is not without a few rough edges. Some shadow-puppet sequences are difficult to see, particularly the train transporting the whales. The backdrop illustrations could be stronger, and portions of the storytelling would benefit from tighter pacing and greater clarity.
Despite these quibbles, White Whale is a moving and inventive work. It feels like a piece with life beyond Cincinnati, and I hope Mette continues to develop it for future Fringe festivals. There is certainly an audience for this story.
Note: Because of the size of the scrolling backdrop, seats near the ends of the center aisle offer the best view.
Family Themes
These two shows feature family, and were part of my first Tuesday night at Cincinnati Fringe 2026.
Jon Bennett: This Will Only Ever Happen Again Once, Pt. 1 by 2HOOTS PRODUCTIONS (Adelaide, Australia)
Jon Bennett is back with another show drawn from his own life. The Australian-born storyteller is known for sharp, piercing works such as Fire in the Meth Lab (about his brother) and AMERICAN’T (about his experiences during COVID). As Bennett notes in his opening remarks, this piece has only been performed five times before arriving in Cincinnati. One of those performances reportedly ran two hours, hence the addition of “Pt. 1” to the title. Bennett also hints that a Part 2 may be in the works.
Because the piece is still new, Bennett is continuing to shape its overall rhythm. While its stated focus is his lifelong love of animals, I left feeling it is equally a tribute to his mum. Her influence is everywhere—from encouraging him to perform “Somewhere Out There” from An American Tail to nurturing his creativity by urging him to draw every animal he wanted to see. The show culminates with Bennett and his mum vacationing in Borneo, where they have an unexpected encounter with wildlife. (You’ll have to see the show for the full story. It’s a memorable one.)
Bennett makes effective use of projections, sharing childhood photographs and drawings of the animals that captured his imagination. We also get an early glimpse of his fascination with phalluses through his childhood giraffe drawings. (Bennett’s first major show was appropriately titled Pretending Things Are a Cock.)
Overall, this piece is still in the process of finding its final form, something Bennett readily acknowledges. He says this is the first time he has felt comfortable bringing a work to Cincinnati before it is fully finished.
While this piece is not yet as polished as Fire in the Meth Lab or AMERICAN’T, I found it deeply entertaining. What makes Bennett such a compelling performer is his willingness to share unfinished work and discover what resonates with an audience. Cincinnati audiences have a rare opportunity to see a talented storyteller shaping a new piece in real time.
Early Bird by Jack Fogle and the River Rat Puppet Collective (Cincinnati, OH)
Jack Fogle and the River Rat Puppet Collective are back with their take on coming out as queer to your family. Nathan Bird (Carson Mehlbauer), a young queer man, attends the Bird family reunion in his rural Kentucky hometown. There he encounters various family members, all played by Tate Clemons. While Nathan is accepted by his grandfather, he has a harder time coming out to his grandmother. His struggle to come out without losing his family bonds forms the heart of the show.
Writer-director Jack Fogle uses the audience throughout the production to create background scenery and sound effects. I was tasked with honking a loud horn at the beginning of the piece—my twenty seconds of fame. Audience members also interact with props from bags distributed before the show. I won’t reveal more, but the audience participation makes several scenes memorable and funny, particularly a fishing sequence between Nathan and his grandfather. Fogle also employs a small number of puppets, including the grandparents’ dog, to great effect.
While the show revels in these theatrical elements, they occasionally overshadow Nathan’s story. Some scenes feel like filler, and the opening sequence with the grandfather lingers longer than necessary. Other ideas, such as the recurring Anderson Cooper references, never feel fully developed.
Early Bird showcases some strong acting. Mehlbauer, a newly minted CCM Acting graduate, gives a compelling performance as Nathan. He earns the audience’s sympathy early through his affection for his grandfather, and we follow him as he navigates difficult conversations with family members.
Equally impressive is Tate Clemons, who plays the entire extended Bird family. Clemons steals the show with several memorable characterizations, particularly Nathan’s grandparents. She makes each feel like a distinct individual, even while subtly conveying their age. Even more impressive is her ability to switch rapidly among five or six family members during the reunion scenes. Clemons is a strong contender for the hardest-working actor at this year’s Fringe.
Overall, Early Bird is an enjoyable visit to rural Kentucky. While it does not have the same impact as last year’s Camp Loretto, it remains the work of an up-and-coming theater artist worthy of attention. Get your tickets early—some are selling out!
Tickets to Cincinnati Fringe 2026
There’s still plenty of time to use an All-Access Pass or Flex Pass at Cincinnati Fringe. More information about the shows, including a calendar and ticketing are HERE.
Now go out there and support live theatre!
Alan Jozwiak is a writer, college instructor, and playwright. The author of four full-length plays, he also explores life through compressed formats (i.e., one and ten-minute plays). These shorter plays have been performed locally, nationally, and internationally. One is published in “One-Minute Plays: A Practical Guide to Tiny Theatre.” Alan is also a Comics Scholar, working on a podcast entitled “The First Century: A Personal History of Comics in America.”
