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Bono and the Edge Waiting for Godomino’s in Special Engagement at The Whitefire

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Ernest Kearney covered Richard Lucas’ award-winning  Bono and the Edge Waiting for Godomino’s at this year’s Hollywood Fringe Festival. The show has been remounted and is running for a limited time at The Whirefire Theatre in Sherman Oaks. Below is a reposting of Mr. Kearney’s original Fringe review.


Hollywood Fringe Festival 2017By Ernest Kearney — Bono and the Edge Waiting for Godomino’s by writer/director Richard Lucas approaches being the ultimate Fringe offering.  Like the legendary shows Beyond the Fringe, The Mighty Boosh, Bing Hitler, Lucas has served up a dish both cerebral and madcap and pulls it off brilliantly.

The recipe is rather basic: Take Samuel Beckett’s absurdist masterpiece Waiting for Godot and make it even more absurd by transposing the characters of Estragon and Vladimir with Bono and David Evans (aka The Edge) of the iconic Irish rock band U2.

Makes perfect sense to me.

With Lucas doing such a spot-on Bono that the Irish rocker could shave by him, and Curt Collier as The Edge/Go-Go, the evening is a wickedly amusing mix of references to the Beckett play and the lifestyle of the rich and famous.  Where the absurdity ends or begins is anyone’s guess.

Platinum MedalWith Jeff Blumberg as Lucky and Bruno Oliver as Domingo, (their Malibu neighbors filling out the solid cast), Lucas’ two “tramps” are not waiting for existentialism, laden with scriptural allusions throwing a Jungian shadow as Godot: They’re waiting for a pizza.

Well, okay, pizza can be kinda existential.

What is delivered is remarkably silly and entertaining fun.

For being so tasty a PLATINUM MEDAL.


Bono and the Edge Waiting for Godomino’s is playing Saturday nights at The Whitefire Theatre in Sherman Oaks. 

Click HERE for More information.

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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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