‘Pig Farm’ — Some Bacon, a Lot of Fat

By Ernest Kearney — In The Pig Farm, Director John Leingang and Writer Richard Klein crowd their stage with a dizzyingly dopey cluster-f**k of genres, providing their audiences with murderous cuties, suicidal elders, asinine Christians, coldblooded mobsters, ravenous piggies, high kicking undead, inane cinematic references, pleated skirts in soft core bondage, demon possession, cotton candy sadism and a trio of problematic cadavers.

So what’s not to like?


This promising chaotic silliness falls victim to its own chaos; Director Leingang lacks the much-needed chair and bullwhip to keep either his cast or material in line and Writer Klein is unable to maintain the multitude of balls he’s juggling in play.

There are some good laughs in the show especially from Morgan Smalley, as the persistently repossessed corpse, and occasionally from Molly Bibeau and Tessa Nesbet, as our pleat-skirted Abbott and Costello. Klein conjures up some strong comedic situations and some very funny lines, but nothing demands more controlled discipline than a good, chaotic, farcical romp.


bronze ribbon - Fringe Festival

For Additional Information click below:

The Pig Farm
runs during
Hollywood Fringe Festival 2022

The Broadwater Black Box
6322 Santa Monica Blvd.

Saturday June 11, 2:00 PM,
Saturday June 18, 9:30 PM,
Thursday June 23, 11:00 PM,
Saturday June 25, 2:30 PM.
The tickets are $13.00
purchased online or at the door.


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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