‘No One Comes To See Us Anymore’ — An Intriguing Concept in Search of a Production

By Ernest Kearney — This show has a singular concept which is heavy with potential and possibilities. In a rarely visited corner of a cemetery, the souls of those buried there engage one another in sporadic conversations over the passing years; an interesting fusion of Spoon River Anthology by way of Friends.

While an overall talented cast fills the parts of the dearly departed, the production, like a good number of others I’m seeing at this Fringe, is crippled by underdevelopment. The play itself, though it possesses a surprising sincerity and contains a number of strong dramatic moments, lacks the seamless strength of a piece which has been adequately worked.

This deficiency extends to the staging of the show which seemed to me rather slap dashed as well as the basic requirements which were lacking in the overall production.

For example, I cannot understand why there are so many shows in the Fringe with no physical programs at the door, no electronic programs and no cast information whatsoever posted on their show Fringe site page.

Thus, I am reduced to saying, Betty the teacher succeeded in being an anchor of sympathy throughout the show, and that Marty the hippie was sadly underused for comic relief.

For the actors and the premise,


Silver Medal (via The TVolution)

No One Comes to See Us Anymore

Is playing during Hollywood Fringe Festival 2022



Asylum @ McCadden Theatre
1157 N. McCadden Place


Saturday June 18 2022, 11:00 PM
Friday June 24 2022, 11:00 PM

For Additional Information and Tickets:


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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