Category Archives: Cincy Fringe Festival

11 Days, 30 Performances, 27 Reviews
So after a few days of mental and physical rest, plus a little reconnecting with my dog, I thought I’d share some of my experiences during the 2011 Cincinnati Fringe Festival. If memory serves, this is my fourth Fringe Festival and by far the best. Attendance figures, reported at 7,100, sets a new record for the 11-day event.

The Performances
This year, there was a great mix of local and out-of-town productions. Overall the quality of the works leaned heavily toward good or better. My personal favorite of 2011 was MISS MAGNOLIA BEAUMONT GOES TO PROVINCETOWN (also name the Critic’s Pick of the Fringe). When I talk about creating a well-defined, real characters on stage, this is how you do it.

You can read all my (first-ever) reviews here. My goal was to discuss what I saw from my seat in the audience without recapping or sharing details about the show. Of the many positive reactions to my reviews, my personal favorite came from Kelsey Danielle Mumpower. She portrayed Jane in MEMOIR OF A MYTHOMANIAC, and said I “told” her exactly what she needed to hear.

The Audiences
This year it was great to see strong audiences at the Fringe Festivals from day one. At the opening night performances I attended, the bulk of the audience were Fringe veterans. Over the course of the 11 days, it was great to keep bumping into the same people, always ready to share their enthusiasm for theater and their opinions of what they had seen with each other. And honestly, where else can you be applauded by fellow audience members for being a [Fringe] virgin.

A quick story. The weather (although hot at times) cooperated for the bulk of the festival. Except Friday night, when severe thunderstorms passed through the area around rush hour. The 7pm performance of THE LYDIA ETUDES was attended by seven people. Those involved with the production called that audience, “The Magnificent Seven.” A short time after hearing this, one of the seven from that audience recounted to me how magical that intimate experience was for her. She was thrilled when I told her that she was one of “The Magnificent Seven.” It was fun and heartwarming to hear that story from both sides.

The Artists
Another personal first, being able to spend time at the Fringe Bar Series. It was a wonderful opportunity to reconnect with old friends, to finally meet some of the locals I have been stalking on FaceBook and to add several more. I want to apologize to anyone who I may have given funny looks. It’s sometimes hard to match a name to a face when I have only seen you in a FaceBook thumbnail or on stage in full costume and make-up.

Also wonderful, the chance to meet several of the out of town artists. When I asked these artists about their experiences here at the Cincinnati Fringe, I heard nothing but compliments. How they felt welcomed and appreciated by the Fringe staff, fellow artists and audience members. When asked how the Cincinnati Fringe compared to others they had attended, they found ours to be among the most successful for them. First-time Cincy Fringe performers told me that they would definitely return when new (or new to us works) were ready.

Fringe Inspires
Erin Gallagher (costume designer and stage manager for THE LYDIA ETUDES) heads back to Chicago with plans to explore this new creative outlet.

For Matthew D. Huffman, cast member of MEMOIRS OF A MYTHOMANIAC, the one person shows he attended has him dusting off some scripts he has written. He hopes to polish one up for submission in a future festival.

Dawn Arnold, who created and performed THE LYDIA ETUDES, was overwhelmed by the response of young people to her performance.  Speaking candidly, she expected her play about Lydia Avilova would appeal, mostly, to an older audience. Pleasantly surprised, Dawn has been invited return as a guest teacher at the School for the Creative and Performing Arts during the upcoming school year.

I think spending at least one evening at the Fringe Festival should be a must for anyone involved, at any level, of local theater. It’s amazing how energized you can get by this community and the shared atmosphere of creative energy.

Over-the-Rhine
For several reasons I missed the 201o festival entirely. Given the personal challenges of the past year, I had not spent any time in Over-the-Rhine except for quick trips to Ensemble and Know. Walking around during this year’s festival, I could see the results of the hard work put forth by the Over the Rhine Foundation, the Gateway Quarter and other organizations.

The Over-the-Rhine area is well on its way to becoming an arts district with an eclectic mix of art galleries, theaters, specialty shops, bars and restaurants. Vacant storefronts sit ready for tenants. I think it’s amazing that some storefronts display information about soon-to-open restaurants. By the time the (now “on” again) casino is completed, this area will become a hub of tourism for the city. But it does need one thing, a streetcar to connect this area to the casino and the riverfront.

I understand that this is not news and is currently in the works, but I hear opposition from people who don’t come downtown. Easy, clean, safe public transportation is needed to link the casino, to the arts district, to the various museums, to the stadiums and to both sides of the riverfront. This is an investment in the city’s future that you can’t appreciate unless you actually visit the area.

If over the 11 days, each attendee spent $25 within Over-the-Rhine, this event alone brought $177,500 to local businesses. Imagine what would happen if visitors to Cincinnati had an easy transportation option for exploring the city’s offereings.

A Few Bumps
As with any event, there are always some problems. It’s a good idea to review these difficulties so they can be addressed for next year.

The “One Night Stand” pass option (as many shows as you could see during a week night plus a drink in the Know Underground bar for $35) was a great idea, just not well-promoted to the general public.

While the out of town performers are welcomed, local performers can be, or at least can feel, neglected. Sometimes it is easy to overlook those who are close.

Perhaps the biggest problems were the sight lines at some of the venues. Most of these could be addressed by getting the performers up in the air. It is also my understanding that some of the venues did not match the information given to the performers, several of which had to quickly re-block their performances. Stress I’m sure they could do without, before their opening.

One thing that may be helpful. In the window at each venue, have a “you are here” map that shows where you are standing, in relation to the other venues.

These few, very addressable complaints aside, congratulations to Eric Vosmeier, Alex Kesman and the entire Fringe staff and volunteers for all their hard work and dedication. You earned the success of this year’s festival. Now get some rest!