Michael Van Duzer

My full review can be found at the link.... full review

My full review can be found at the link below.... full review

Tony Foster's play is both entertaining and thought-provoking. His imagination and the addition of the gay plot elements makes this play much more than your typical haunted house story. And, while the narrative elements didn't stray into absurdity, the plot twists never went where I expected. Very refreshing.... full review

Thome’s writing is clear-eyed, wryly humorous, and filled with specific details and color from her Michigan upbringing. But the story is universal and will resonate with audiences blessed with less prickly mothers than Imelda. See full review at the link above.... full review

There was a point, about half-way through the 90-minute performance, when I simply stopped looking for realistic motivations and surrendered to the piece as a fever dream conjured by Lisman. Absolute Zero, may have its problems, but it’s never boring. Read full review at the link above.... full review

Steve Fife directs, along with writing both book and lyrics for the world premiere of Charming The Musical, one of two dueling Prince Charming productions at this year’s Fringe Festival. Read the full review at the link above.... full review

Office Beat, a new show created by Mindy and Gabe Copeland, is billed as a “tap comedy.” And I suppose that’s as good a description as any. But those words do little to relay the pure entertainment this genre-busting production offers. The entire review can be found at the link above.... full review

n the early 1980’s, just before Craig Lucas transitioned from performer to playwright, he approached Stephen Sondheim about using some of the composer’s trunk songs in a new theatrical context. The result was Marry Me a Little. Full review at original article.... full review

The adaptation, by Mike Wamser and Casey Kringlen, is an edited but essentially faithful production of the play, minus the Christopher Sly framing device. Kringlen, who also directs, conceives the play as a comic romp in the style of I Love Lucy. As both Lucy and Shrew are highly physical farces which send up masculine/feminine conventions, this seems a strong, though not surprising, choice. Where Kringlen gets transgressive is in the gender-bending casting of the roles. Full review at "origin... full review

From the moment the cast fills the stage in a parody of Fringe artists to the tune of “Hello” from Book of Mormon, you know you’re in good hands. Irreverent, incisive, and wickedly funny, these songs are anything but stupid. Full review at "original article."... full review