The last time the Tap Overload Company came to the Hollywood Fringe, my review of their show "Office Beat" was effusive, to the point of idolatry in gushing superlatives, and closed with my invitation to please return. Happily, for all they did!
"Do You: Migration of the Monarchs" is a dazzling concept conveyed in a visually rich language, not a play as much as a pageantry of images, song and dance. At the center is director/performer/costume designer Yozmit Walker, whose ideas and concepts flood off the stage
"Kinsherf’s Coat" harkens back to one of the Sixties most lamentable losses – “The Happening," which was was an indiscernible event that even survivors of the “Love Generation” found difficult to define; though they all claimed to recognize one when it “happened.”
What "Help! I Might be Fabulous" presents is a modern fable by way of Stonewall and "La Cage aux Folles," in which Alfie stands as a testament that sequins alone do not make one “fabulous.”
"Shakeslesque" is a playfully amusing blend of Bard and boobs; a racy, randy raucous romp in which the buxom babes of Cherry Poppins Caburlesque join with some of the Fringes best known rascals.
Playwright Adam Peck's "Bonnie & Clyde" brushes aside the legendary elements of the Bonnie Parker and Clyde Barrow story, putting its focus instead on a far greater mystery; the dynamics of the human heart.
For those of you who are unschooled in America’s favorite pastime, Van Lingle Mungo was a Major League pitcher who played with the Brooklyn Dodgers from 1931 to 1941 and then with the New York Giants till the end of his career soon after the
"Secret Honor, The Last Testament of Richard M. Nixon" is a torrential tirade spewed by a scotch-soaked Richard M. Nixon, as he prepares to resign the presidency to avoid impeachment from his cover-up of the Watergate break-in.
Director/writer/set designer Donovan Glover won the 1991 UCLA Best-New-Play-of-the-Year Award for this work and at times "Just Like Life" certainly feels like the work of a neophyte – absurdist themes are the “training wheels” of choice for all greenhorn bards.
In "The Girl who Jumped off the Hollywood Sign" written and performed by Joanne Hartstone, under the direction of Vince Fusco, the audience joins a Peg Entwistle wannabe as she teeters precariously perched on the top of the Hollywood sign looking down at her impermanence
