Cincinnati Fringe supports artists interested in developing a Fringe show. Their Fringe in Development series features four performers testing out a piece. They are works in process that have rehearsals through the course of the festival, culminating in one ticketed performance. All have been sell outs this year, as the Fringe community enthusiastically wants all performers to succeed.
Good…Girl? by Lucía Duque (Cincinnati)
Review by Kirk Sheppard, Guest Reviewer
Lucía Duque is asking for attention.
Throughout the course of this Fringe-in-Development piece, Duque holds at least four people inside one body. Over the hour of Good…Girl?, she moves among them: a little girl, a middle-aged man, a young queer man, and — when stage manager Ren Rogers steps in for a brief, well-timed cameo — a dog. The piece is full of experimental and nonlinear vignettes, more clowning and pantomime than plot, with a little audience participation and some fourth-wall play, both kept light. I won’t pretend I followed all of it. But I definitely enjoyed it.
Duque’s program note frames the work as a parallel to her own healing — wounds of abandonment and rejection, and what it takes both to embrace those wounds and to be embraced by others. Onstage it becomes something harder to name. The show circles submission and surrender, who bends toward whom, and it leaves the line between tenderness and harm deliberately unfixed. In a piece still finding its shape, that isn’t a gap. It reads like the point.
What isn’t in question is Duque herself. Duque is mesmerizing. Duque does remarkable things with body, voice, face–shifting from one person to the next with nothing to hide behind. While I was confused for some of the hour, I was bored for none of it.
At the very end, we’re asked to look away from the stage while Duque begs us for attention. We’re told that it matters. The whole hour has circled who surrenders to whom, and now the question turns on me: a rule-follower who also likes to hold the reins, told to obey. I tried. But it wasn’t easy — it’s hard to take your eyes off of her.
WHAT’S THE FRINGIEST THING ABOUT IT? An experimental non-linear, movement-based piece about kinks and identity? Uhh…what ISN’T Fringe-y about it?
Homesick by Iliana Soria Designs (Cincinnati)
Review By Liz Eichler
I am so glad I got to see this show.
Iliana is a fabric artist–and it really shows. They designed all of the costumes, sets, props–and people noticed–applauding the costumes and set pieces–works of art.
The premise of the show allows for creativity–the main character is depressed and grieving a loss, so where else to get away from it all? To go live by themself on the moon! They travel between the planets, meeting interesting flora and fauna. Each space creature they meets brings up existential questions and contemplation, until finally, the lights go off and we hear what’s in Iliana’s head. It is not the other people who need to change. Now they have some work to do, returning to earth, nurturing themself and earth’s flora and fauna.
One extra highlight are the stars who change the scenery with personality. Killian Max and Ella Prather were part of the acting team.
From the inventive space suit, to the space flowers, and space rocks, we take note. The alien costumes and props are–out of this world good! They are made with care and ingenuity. This isn’t a performer just getting by with basic props. Iliana is inventive, with a hint of whimsy and stage magic. They even paid attention to the sound (Will Bryant, foley): we can hear both the alien language and the translation, and each planet has a soundscape. Hopefully we can see their design work again on a local stage soon.
Minotaur in Flight by Lucia Salazar-Davidson (Cincinnati)
Review by Chase Johnson
As part of Fringe Development, Minotaur in Flight is an excellent first step. Retelling Greek myths with a modern perspective can be either compelling or disastrous, and this production lands firmly on the positive side.
The costuming and fight choreography are particular highlights, helping bring the story to life. The dialogue can feel a bit stiff at times, and while I understand the thematic direction the creators were pursuing, it occasionally runs counter to the original myth. That’s not necessarily a bad thing, but because the source material centers on Minos’s hubris and the consequences it brings to both himself and Crete, shifting that focus sometimes makes the story feel like a bit of a misery contest, with very few characters finding any happiness.
There are also a few storytelling choices that can be confusing, particularly the decision to have Ariadne serve as one of the Fates. Still, these are the kinds of issues that can be addressed through further development.
It’s an admirable effort with strong ideas and some impressive elements already in place—it just needs a bit more tweaking to fully realize its potential.
Talk on Stage? by Megan Flynn & Teresa VanDenend Sorge (Cincinnati)
by Chase Johnson
I’m honestly surprised this was a development piece. It feels incredibly polished and well-rehearsed, with strong performances and impressive dance numbers throughout.
The personal stories about facing cancer and caring for parents with dementia resonated deeply with me and, judging by the audience’s reaction, many others as well. While a few of the music selections struck me as unusual—I could swear I’ve heard the opening number while on hold with my bank—the storytelling and choreography more than make up for it.
The show closes with “Shine” by Collective Soul, which felt like a perfect choice and provided a satisfying finish to the evening.
All in all, this is a development show that already feels ready for the primary lineup.
