‘ICE CATS: A DEAD MOTHER TRAUMEDY’ — Mortality, Motherhood And Mayhem Meld Into A Memorable Show

Ernest Kearney  Alli Miller-Fisher has been a Fringe staple ever since I’ve been involved, and her performances both as an actress and in work with Cherry Poppins Productions in staging big, beautiful and over-the-top burlesque musicals have left no one in doubt of her skills or talents.

Ice Cats: A Dead Mother Traumedy is however a departure for Miller-Fisher.  A solo show, of the most personal nature, just herself, alone on stage presenting a eulogy for her late mother:

Cathy Renee Guetersloh

January 26, 1955 – October 29, 2018

This is not an original concept from which to frame a one-women show, but what makes Ice Cats so incredibly unique is what makes Miller-Fisher so incredibly unique; her boldness, her passion, and her skill at weaponizing humor to beat down anything that pops out at her from the Whac-A-Mole game of life.

We get a brief family history and some snapshots of Mom’s sense of humor; such as her referring to Alli’s “vajayjay” as “Never Never Land” for where all the lost boys go to die.

But it is after her mother’s passing and having to deal with the decades of memories as she digs through her mother’s “hoarding” that the show really takes off in an explosion of pathos, humor and show-stopping musical numbers.

One of the best of the Fringe.


Ice Cats: A Dead Mother Traumedy

Playing During the Hollywood Fringe Festival 2024


Three Clubs (Three Clubs Stage Room)

1123 N VINE ST

Sunday June 30 2024, 6:30 PM | 50 mins


Ernest Kearney - author

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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