“I Am Not A Man” is Not a Lot of Things…, But-

By Ernest Kearney — I Am Not A Man is a stand up routine trying to pass for a solo show, more than anything else, and usually those are less than successful. What saves this one from that fate is the sincerity of the Writer/Performer Heather Kozlakowski. That she is trying to carve out her performance niche is apparent. She hasn’t found her voice yet and  is still struggling to come to grips with her stage persona.

But in sharing her story of the little fat girl whose father wanted her to fill the role of the son he never had, Kozlakowski proves that when she does find her “voice” she will have plenty to say, and while she hasn’t, yet, managed to discover her persona, it is  not because she doesn’t have a surplus of personality from which to work.

I Am Not A Man is a start, not a great start by any means but, definitely, not a fall-on-your-face-right-outa-the-gate start either.

That Kozlakowski needs  work can’t be denied, but neither can it be denied that she has something to work with.Silver Medal (via The TVolution)
Besides, anybody who gets out of Detroit shows  they’ve got something on the ball.

And for that Kolakowski and her show earns –


♦  ♦  ♦



Click HERE  to read more Hollywood Fringe reviews  from Ernest Kearney on the TVO website.



I Am Not A Man was presented at Studio C during Hollywood Fringe Festival 2019.


To learn more about Writer/Performer Heather Kozlakowski go to: heatherkozlakowski.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. 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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