‘The Unspeakable History Of (Women In) Ventriloquism’ – I Want To Hear That Unspeakable Stuff!

By Ernest Kearney  —  First Note: Hannah Leskosky is a wonderful ventriloquist.

Second Note: Her show is too short. (Wow!  That is not a statement I am accustomed to articulating!)

There are nit-picks of course, which I’ll list here as references for her future shows.

Her puppet podium was too tall; it limited the audience’s view of her puppets and herself.

The puppet’s personas were too similar.  Hannah’s own sweet and very winning personality could benefit from a hyper-sardonic foil.  A ventriloquial figure is needed that is the polar opposite of Hannah herself.

And her history of ventriloquism, which is quite comprehensive regarding the Golden Age of Ventriloquism 1930-1970, could delve into some renowned moment “stomach-speaking” in man’s earlier history. 

The “Voice” of the Burning Bush for instance, or the old Gallic tale of Philibert, the fifteenth-century French “gastromancer” who amused himself by using his ventriloquist’s art to screw with Joan the village airhead (“Joan, Joan, it is I, the Archangel Michael.  Hey, girl, got a little something I want you to do for me….”)

As it is, The Unspeakable History of (Women in) Ventriloquism is a sweet and charming little show, but Leskosky has more potential than is conveyed in “sweet” and “charming.”  All she has to do is pull the pin out of the grenade.  Or let the unicorn do it.


The Unspeakable History of (Women in) Ventriloquism

Onstage During Hollywood Fringe Festival 2024

Three Clubs (Three Clubs Stage Room)

1123 N VINE ST


Saturday June 22 2024, 4:30 PM | 30 mins

Sunday June 23 2024, 6:30 PM | 30 mins

Thursday June 27 2024, 8:30 PM | 30 mins


For More Information go to: www.hollywoodfringe.org

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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