By Ernest Kearney — Sam Pasternak’s concept in “Public Domain, The Musical,” while poking fun at Disney Studio’s propensity for squeezing profits out of any literary character for whom it won’t have to pay royalties is simple and straightforward.
By Ernest Kearney — It strikes me that certain shows at the Fringe are trying to follow the success of "The Mighty Boosh," the surreal skit comedy that went from hit at the Edinburgh Fringe to BBC cult classic and one such hopeful is "Olivia
By Ernest Kearney "The Mayor’s Debate of Tranquility, Nebraska" at the Complex Hollywood, while both a "Twilight Zone" doppelganger and political parable is certainly the cream that rises to the top.
By Ernest Kearney — At the start of "The Last PowerPoint," which played The Hollywood Fringe Festival 2019, the CEO of disIncorporated plunges into a room to razzle and dazzle his prospective consumers with a high powered corporate pitch to introduce his company’s newest
By Ernest Kearney — "Jamba Juice The Musical" is a rough, toe-tapping little ditty, a kind of “Hey, I’ve got a barn” musical only without the “barn.” In other words, it’s perfect for Hollywood Fringe Festival 2019.
By Ernest Kearney — Some plays, due to the period of their composition or the language in which originally penned, present various problems for those wishing to stage them. But none hold more difficulties than Aristophanes’ "The Birds."
By Ernest Kearney — A writer (Scott Golden) is assigned to do a book on the town of Wigfield. Nestled in the shadow of a threatened dam, it is a small community that makes David Lynch’s "Twin Peaks" look like Mayberry
By Ernest Kearney — Ryan J-W Smith is a known and respected quality among long time Fringers; admired for such productions as 'MacDeth," his wacky and wonderful word fest that reworked "The Tragedy of Macbeth" into the silliest of romps with swordplay and men
By Ernest Kearney — "Tattered Capes" by Gregory Crafts is like a Graphic Novel for the serious Graphic Novel reader. It starts at the fifth anniversary dinner of Kevin (Travis Joe Dixon) and Stephanie (Joanna Mercedes). However, there’s trouble.
By Ernest Kearney — The power of story is in its journey, it matters little whether that journey is Odysseus’s, Luke Skywalker’s or Billie Dawn’s. And a journey is at its core and essence,
