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Kinsherf’s Coat — Still Time to Weigh In

A Hollywood Fringe 2017 Extended Show

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Hollywood Fringe Festival 2017By Ernest Kearney — Kinsherf’s Coat harkens back to one of the Sixties most lamentable losses – “The Happening.”* *

The happening was an indiscernible event that even survivors of the “Love Generation” found difficult to define; though they all claimed to recognize one when it “happened.”

The evening begins with a tableau, designed by Brittany Blouch and Diane Dwyer, of a small white table and chairs, blue and yellow cups and saucers atop the table, a leafy blue plant beside it and dangling from one of the chairs— and most importantly perhaps in establishing the man’s suffering through the blood of humanity’s martyrs — a red coat.

Upstage of this is its dark mirrored reflection, a recreation of the smaller tableau but in the dismal grimy gloom of a colorless shadow, darkening the murky shade of a very black blackness.

Kinsherf’s Coat is elusive – an enigma fashioned as a rounded Rubik’s cube hid in Donald Trump’s tax returns, wrapped with bright blue brown wrapping paper, baked in a recipe-less lasagna, hid within a box of Cracker Jacks, then buried in the unsounded depth of Kim Kardashian’s cleavage.

Freud ascertained the theme of Kinsherf’s Coat as supporting the Biblical adage “All suffering painth.” (34:18 II Brook of Shield)

All great theatre asks great questions – Should Hamlet avenge his father?  What the hell is keeping that asshole Godot?  Paper or plastic?  Who is afraid of Virginia Woolf and what’s up with that bitch?

Kinsherf’s Coat strives to ask those eternal questions – What is life’s meaning?  Why is there death?  Who buys a fruit cake for a birthday gift?  Those questions that have followed man’s long journey from the festering, fetid scum of the primordial swamp onto the Trump presidency – but I repeat myself.

With Kinsherf’s Coat we seek the penetrating perspective to plum the puzzling prism of the human persona of Fringe Award-Gold Medal-The TVolutionpurloined pain and percolated passion.  We cry aloud into the emptiness of our souls and all we hear is the echo of the Almighty’s aerocolpos, reducing us all to fate’s ingler.

Conceived by producer Brian Wallace and of course the legendary John Kinsherf; we are like Poe’s majestic bust of Pallas with the raven perched upon us.

And in the end we have nothing…nothing but bird crap in our coiffure.

The horror….  The horror.

For giving me the gift of a child’s laughter, then throttling it before my eyes a PLATINUM MEDAL.

 

♦     ♦     ♦

(NOTE: ** Not to be confused with M. Knight Shaveandahaircuttwobits’ silly thriller The Happening about homicidal ferns.)

 


Kinsherf’s Coat is a Fringe 2017 extension

June 29, 2017 @ 8:00 pm at

Sacred Fools Theater

1078 Lillian Way in Hollywood

For Tickets and Additional Information:

kinsherfscoat.weebly.com

 


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An award-winning L.A. playwright and rabble-rouser of note who has hoisted glasses with Orson Welles, been arrested on three continents and once beat up Charlie Manson. His first play, Among the Vipers was a semi-finalist in the Julie Harris Playwriting Competition and was featured in the Carnegie-Mellon Showcase of New Plays. It was produced at the NPT Theater in Ashland, Oregon and Los Angeles’ celebrated Odyssey Ensemble Theatre. His following play, “The Little Boy Who Loved Monsters” was produced at The Hollywood Actors Theater, where he earned praise from the Los Angeles Times for his “…inordinately creative writing.” The play went on to numerous other productions including Berlin’s The Black Theatre under the direction of Rainer Fassbinder who wrote in his program notes of Kearney, “He is a skilled playwright, but more importantly he is a dangerous one.” Ernest Kearney has worked as literary manager or as dramaturge for among others The Hudson Theater Guild, Nova Diem and the Odyssey Ensemble Theatre, where he still serves on the play selection committee. He has been the recipient of two Dramalogue Awards and a finalist or semi-finalist three times in the Julie Harris Playwriting Competition. His work has been performed by Michael Dunn, Sandra Tsing Loh, Jack Colvin and Billy Bob Thornton, and to date, either as playwright or director, he has upwards of a hundred and thirty productions under his belt, including a few at the Bob Baker Marionette Theater as puppeteer. After a wild and misspent youth, which lasted well into middle age, Kearney has settled down and is focusing on his writing, as well as living happily ever after with his lovely wife Marlene. Ernest's stage reviews and social essays can be found at TheTVolution.com and workingauthor.com. Follow him on Facebook.

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