“I Can Hear You Now,” Runs with the Laughs

By Earnest Kearney  —  I Can Hear You Now, performed and written by Mitchell Bisschop and directed by Daniel De Lorenzo is a reworking of Citizen Kane to Madison Avenue, in which a well-known spokesperson (“Can you hear me now?”) embarks on a quest to unravel the mystery of his dying mentor’s last words. His dead mentor being the “Mikey” of “Mikey won’t like it,” fame whose dying word— let me tell you— ain’t “Rosebud.”

In his search for the pieces to solve this puzzle, Bisschop encounters the great icons of the televised pitch allowing us to relive the golden-oldies of commercial catch phrases.
Some of us may not remember where we were when we heard Kennedy was shot, or if we do recall where we were we don’t remember which Kennedy; but who among us doesn’t know exactly where we were the first time we heard, “I’ve fallen down and I can’t get up!”

Bisschop changes costumes and characters in an ever-rising comic crescendo connected via video links by himself and De Lorenzo; although a few of which could have used some work.

Writer, Performer Mitchell Bisschop (HFF#18)

Nevertheless, I Can Hear You Now is one of the funniest shows of the Fringe and wildly enjoyable.

I have to confess here, though I wanted to see this show, it was about to fall victim to my insane schedule. Then I met Mitchell’s utterly charming mother, and it was after her tales Platinum Medalabout how little Mitchell was always getting his head stuck in his sand pail well into his preteen years that I decided I had to see his show.

So, here’s your PLATINUM MEDAL, Mitchell.

You be sure to thank your mother.


♦     ♦     ♦


I Can Hear You Now

Is Playing During the Hollywood Fringe Festival 2018


The Complex Hollywood
6476 Santa Monica Blvd.

For Complete Show Information, Tickets and Reservations Go To:



What’s the Hollywood Fringe Festival? Click HERE and Learn More.

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Written by

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. Kearney remains focused on his writing, as well as living happily ever after with his lovely wife Marlene. His stage reviews and social essays can be found at TheTVolution.com and workingauthor.com. Follow him on Facebook.

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