By Liz Eichler
Fringe 2026 continues with two great dance shows, at Gabriel’s Corner:
Tapped In by Pones (Cincinnati, OH)
This is one of the best Fringe shows I have ever seen.
Kudos to Grace Wagner, Kim Popa, and Parker Hall for both the concept and its excellent execution. Even though the AC is broken at Gabriel’s Corner, go anyway. The performers are bringing the heat—and they’re the ones doing the tap dancing.
Tapped In traces the history of tap from its African roots through colonialism, early Hollywood, Broadway, and today’s tap-offs. The story is told with remarkable skill, love, joy, and confidence.
The narration, written by Derek Snow and delivered by Julia Sonia Locker, ties the various sections together seamlessly.
Guest tapper Jason E. Bernard, who made his Broadway debut at 17 in Bring in ‘da Noise, Bring in ‘da Funk, not only dazzles with his talent but also shares his personal tap journey. Parker Hall showcases equally impressive skills; the two have previously worked together on tour. Pones regulars shine throughout, including Allie Hazelwood, Jackson Scoot, Joy Scott, Courtney Duncan, Zac Holman, John Woll, Camille Jones, Chennelle Jones, Anaya Ni’kole, and Shamiso Chikwenhere. Indica Blows brings her nightclub singing talents to the Cotton Club sequence.
This is an uplifting, expertly crafted production that celebrates both the history and the future of tap. Don’t miss it. HIGHLY RECOMMENDED.
Remaining Performances of Tapped In at Gabriel’s Corner:
- June 7 at 2:30 pm SOLD OUT
- June 10 at 7 pm
Madwoman’s Ball by InBocca (Cincinnati, OH)
Wow. I love how InBocca takes a piece of history and brings it vividly to life.
The show begins the moment you enter the space, as performers wander among the audience asking for their ether and setting a tone.
Set in 19th-century Paris, Madwoman’s Ball draws inspiration from the work of Dr. Jean-Martin Charcot, who studied what was called “hysteria.” Women exhibiting its symptoms were observed, displayed, and sometimes treated with ether. Society’s elite came to watch, mingling with the patients in a strange fusion of entertainment, myth, and emerging science—perhaps an early version of reality television.
The cast remains fully committed to the world they’ve created. Dancing to contemporary songs that resonate with the show’s themes, they transform this unsettling history into an immersive and surprisingly exhilarating experience. It is a crazy good time. And with amazing costumes by Caroline Stine.
Katie Scarlett is excellent as Dr. C, anchoring the production with confidence and authority. The talented ensemble includes Courtney Duncan, Ian Forsgren, Ashley Morton, Peyton Pope, Tamara Sanow, Casey Jo Miller, Perry Hensley, and Kate Stark.
Like much of InBocca’s work, Madwoman’s Ball finds a compelling balance between education and entertainment. They turn a fascinating historical footnote into an engaging evening of dance and theater, directed and lead by Caroline Stine.
Remaining Performances of Madwoman’s Ball at Gabriel’s Corner:
- June 7 at 7 pm
- June 12 at 7 pm
Colonial Circus by Two2Mango (Toronto, ON, Canada)
This award-winning and very funny clown show is billed as “Two Brown Clowns Pretending to Be British Colonizers Journey Through the History of Colonialism.” It delivers exactly what that description promises: sharp comedy, clever audience interaction, and pointed social commentary.
The show is so good that it has been selected as a Fringe Encore, and that recognition is well deserved.
Audience participation is woven throughout the experience, from joining in throat singing at the start to blowing up balloons and rowing a boat. The interaction never feels forced; instead, it draws the audience deeper into the performance and its themes.
These are two immensely talented performers–Sachin Sharma and Shreya Parashar– who skillfully balance entertainment and education. Through humor, physical comedy, and improvisation, they invite audiences to consider colonialism and the Brown experience while keeping the energy high and the laughs coming.
Highly recommended.
Remaining Performances of Colonial Circus at Know Mainstage:
- June 7 at 8:30 pm
- June 9 at 6:45 pm
- June 13 Encore Time TBD
Erys Sichthon by Lina Keys (Cincinnati, OH)
This engaging story—told entirely in rhyme—is the brainchild of Lina Keys, a playwriting student at Ohio University. Given its themes, audiences may find it difficult not to view the piece through a political lens.
Adapted from the Greek myth of Erysichthon of Thessaly, Erys Sichthon follows Demeter, an herbalist deeply connected to the land who protects and nurtures three dryads, spirits of the forest. When the greedy and corrupt King Erys cuts down a sacred tree inhabited by one of the spirits, Demeter places a curse upon him that ultimately leads to his downfall. Meanwhile, two of the king’s henchmen—sporting conspicuous red hats—discover their love for one another and choose to leave the court behind.
The script is imaginative and thoughtfully constructed, weaving mythology, environmental themes, and contemporary political commentary into an accessible narrative. Keys demonstrates a strong grasp of storytelling and dramatic structure, particularly for an emerging playwright.
This marks the company’s first appearance at Fringe. While the writing provides a solid foundation, the production would benefit from stronger direction to fully realize the script’s potential. Even so, the promise of the writing is evident, and it will be interesting to see how this young group develops its work in future festivals.
Remaining Performances of Erys Sichthon at Gabriel’s Corner:
- June 7 at 8:45 pm
- June 9 at 7 pm
Early Bird by Jack Fogle and the River Rat Puppet Collective (Cincinnati, OH)
Jack Fogle has developed a brand of storytelling that is charming, engaging and relaxed–taking its time as it wraps you in a warm embrace.
Appropriately, there are plenty of hugs and moments of tenderness in this story about Nathan Bird (Carson Mehlbauer), a young man reconnecting with his grandparents while preparing for a family reunion. Along the way, he struggles to tell his grandmother—who harbors a crush on Anderson Cooper—that he is gay.
Fortunately, Grandpa already knows. “You know you can be… gay around me, right?” he tells his grandson in a very sweet moment. The grandpa character is so well done–yet just one of the eight characters Tate Clemons creates.
If you enjoy audience participation, this show is for you. Each audience member receives a bag of activities along with instructions, and props are scattered throughout the theater, giving some patrons additional opportunities to join the fun. Best of all, participation is encouraged without putting anyone on the spot. Fogle has plenty of signs to cue the audience. Fogle also plays a number of characters, from Scott the grocer, to the key ring, to operating Robin the dog.
Again, Fogle is very inventive, transforming the theater into a shimmering fishing lake, and having the audience make the stars in the sky. They are simple effects, but a memorable ones—much like the show itself.
Remaining Performances of Early Bird are:
- Friday, June 12 at 8:45 pm
Bomb! an FBI Memoir by Silver Linings Productions (Cincinnati, OH)
I can see why this show is generating sellouts, buzz, and plenty of post-show discussion.
Doc’s job is to investigate bombings: sorting through horrific scenes of human remains, twisted metal, detonators, and debris to identify the victims, determine the source, and uncover the motivations behind the attacks. His career is on an upward trajectory, but success comes at a cost. When duty calls, he must leave everything behind—including his family—to go wherever he is must in the fight against “the bad guys.”
Sean Miller-Jones as Doc drives the show with confidence and skill. He balances Doc’s intelligence, professionalism, and passion, creating a compelling portrait of a man dedicated to his work. He is supported by a strong ensemble, including Jordan Whitaker, Maya Norman, and Zak Kelley, who keep the story moving and the stage alive with energy. Kimberly Borst is most effective in her speaking role as Doc’s long-suffering wife, grounding the emotional stakes of the story. Parts of the score are not suited to her vocal range.
Following a powerful and memorable opening number, the musical settles into a smooth rhythm. Director Gina Kleesattel keeps the production focused, while Kim Popa’s choreography adds momentum throughout. Josh Neumeyer, serving as stage manager, ensures that props and scenery move seamlessly between scenes. Charles Kleesattel’s music helps propel the story forward.
Fans of Assassins may recognize a similar approach here, particularly in the show’s willingness to explore the psychology of those who commit acts of violence. This is an effective scene. One scene needing re-work is when Doc and his wife are on the phone, and he sings about his feelings to the audience, ignoring her while she is speaking to him. It doesn’t seem to fit with the overall character.
Bomb! is the brainchild of Cincinnati playwright Liz Coley and is based on Bomb Doctor, a book by her brother-in-law, Dr. Kirk Yeager. Coley described this production as a first pass—a proof of concept—and that seems exactly right. The material has tremendous potential, and in many ways a musical may be the ideal form for telling this story. Without the moments of humor and music, the subject matter might simply be too overwhelming.
This is a promising start and an enjoyable musical. I look forward to the next iteration.
Remaining Performance of Bomb!:
- Thursday, June 11
