‘Dillis’ – Existential Dopiness from a Dainty Idiot

By Ernest Kearney  —  First off, I am a sucker for clowns.  Second of all, I am a complete sucker for Fellini’s clowns, Beckett’s clowns, the New Bozena, Factwino, Bill Irwin, Red Bastard, Brother Theodore, Slava Polunin, and any buffoon or Roman clown with a hint of danger or a streak of insanity.  (What can I say, I had a bad childhood.)

I also appreciate shows that depart from the mainstream – which is what the fringe festival arenas are devised to present.

Brianna Ahlmark’s Dillis is not for everyone.  And actually, it’s close to being not for anyone.  In her drill sergeant persona, Ahlmark stands front stage center and engages/abuses the audience.  She crawls among them and rearranges them evoking amusement and perplexity in equal parts.

The show is a work in progress she tells the audience afterward, and she hopes after another 40 performances she may be ready for Edinburgh.  I would say she should up that to 100 performances. 

But if you want something that’s the fringiest of the Fringe, Dillis may be a show for you.

Or not.

And for her fringy ambitions – a SILVER MEDAL  

Silver Medal (via The TVolution)

For Additional Information about Dillis and
the Hollywood Fringe Festival click here: FRINGE DETAILS

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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