RAINBOWTOWN (Two Ducks Theatre Company): Fringe Review 16

This short musical is aimed at really young ones, but its message (and its sense of humor) is universal. Two actors and one musician run through a simple story, and model a gamut of moods and behaviors for their young audience. Queen Annie (the captivating Amanda Curry) is on a journey to find a new place to build her castle. She visits a series of emotionally-themed towns and connects with a local resident in each.

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We Are Proud to Present, University of the Arts, FringeArts

WE ARE PROUD TO PRESENT (The University of the Arts): Fringe Review 15

You know that moment when playfighting becomes real? Everything is nice and amusing until a pulled punch actually connects, and then laughter gives way to the sounds of a struggle. Things become very serious awfully quickly once people start getting hurt for real. That’s the main thrust of WE ARE PROUD TO PRESENT A PRESENTATION ABOUT THE HERERO OF NAMIBIA, FORMERLY KNOWN AS SOUTHWEST AFRICA, FROM THE GERMAN SUDWESTAFRIKA, BETWEEN THE YEARS 1884-1915.

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(SOME) LOVE AND (SOME) INFORMATION (Ira Brind School and Headlong Dance Theater): Fringe Review 9

Staging a Happening used to be straightforward. To jangle the audience out of the role of The Observer, you redefined art from what-I-the-Artist-do-up-here into what-is-happening-between-you-and-me.…

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MAKESHIFT (Murmuration Theater): 60-second review

Strange games are afoot upstairs at Plays and Players. Not light or fun games, either—we’re talking full-on Don’t-talk-about-our-son-Martha! games here. Murmuration Theater’s new play MAKESHIFT throws us right into the middle of two different stories, and figures we’re smart enough to figure out what’s going on. The show doesn’t dole out much information, and when it does, it’s timed for maximum effect. Once you get enough to realize the show’s central conceit (which is quite nice, and unfolds so organically that I’d hate to spoil it), the earlier scenes come into better focus and make more sense.

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