‘Silly, Sad, Swords’ – No, A Bit, Not Very Sharp

By Ernest Kearney – There was a mob on stage for this one, performing fourteen skits that mostly missed the mark with me.  One of the earlier skits involved a little girl, with wings for some reason, who is approached by a pedophile.  She gladly goes off stage with him from where you hear a chainsaw, a man’s scream and a body hitting the floor.  Now it was hardly silly, not sad (unless you have a soft spot for “pedos.”) and no swords. 

Another skit entitled “Pandemic Hobby Support Group” was a support group – wait for it – for hobbies people had during the pandemic; “Sourdough  Starter,” “Conspiracy Theories,” and “Tiger King.”  (Silly, sad, swords?  No, nada, nope.)  Halfway through there was a skit entitled “Cereal Killer” involving the classic breakfast cereal characters: Buzz the Bee, General Mills’ Trix Rabbit and Lucky the Leprechaun, and Kellogg’s Tony the Tiger.  They all… well, killed one another.  

Some skits attempted to be non sequiturs but none were.

“The Pain That Stays” was not a skit, but a dance piece featuring Jessica Berón.  This was the most ambitious and for me, perhaps, the most satisfying.  Ms. Berón didn’t strike me as a trained dancer, but she had heart.

If asked why this production failed, I would give you a simple answer: “No one was willing to get serious about being funny.”


Silly, Sad, Swords

Playing During Hollywood Fringe Festival 2024


Hudson Theatres (Hudson Backstage)

6539 Santa Monica Boulevard


Sunday June 23 2024, 2:00 PM | 1hr

Saturday June 29 2024, 8:30 PM | 1hr


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.

Latest comment
  • Did we see the same show? It wasn’t perfect but it had much more laughs and heart than i think you give credit for.


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