Tag Archives: hollywood fringe festival

My 2016 Hollywood Fringe Festival Picks

I’ve enjoyed attending the Hollywood Fringe Festival since it started, and always searched for more ways to let audiences in on the fun. Now living in a new city, I understand even more how it’s hard to just jump into a Fringe Festival, even if you’re really into it.

These are the shows that I would put on my #HFF16 Dance Card during this first week of previews and through opening, if I were in town. Click the title to find the show on the Fringe website.

Enjoy!

Cindy Marie Jenkins, Founder & Consultant of See It or Skip It LA

From Reputation

Neva  “People are dying of hunger in the streets and you want to put on a play?” I saw this NEVAplay (different production) at CalArts REDCAT in 2011 and was thrilled to see Diana Wyenn directing it now.

Patriot Act is written and performed by Michael Schlitt, whose show Jesus Ride I adored a few years ago at Fringe. He is incredibly sharp, funny and theatrical. I would not miss this if I were in town.

Thug Tunnel by Robot Teammate and the Accidental Party. They had a great show last year and this one doesn’t look like it will disappoint: In the not-so-distant-future, greed, pollution, and The Ancient Fire of Death and Despair have made Earth’s surface uninhabitable, forcing the human race to survive underground in a criminal society known as THUG TUNNEL.

The Complete Works of William Shakespeare (Abridged) with an all female cast who are incredibly funny.

Simon Coronel: Alien of Extraordinary Ability. That’s how he’s designated by the U.S. Department of Immigration. An Australian Illusionist who often frequents the Hollywood Fringe, Simon always entertains. Sometimes, he throws his knowledge of Mandarin in there, too.

All the Best Killers are Librarians. I mean, the title. Then I learn it is from Serial Killers, the late night serial competition at Sacred Fools, and I’m hooked.

Bull and Smoke are both by Rogue Machine, who never seem to disappoint with new plays.

 

Just Because I Dig This Kind of Thing

Troy Before I knew it was a Fountain Theatre production (looks like part of a development series), this is a rare instance of the play description gripping me. (It should be noted that I am a Greek geek to the extreme.)

Photojournalist and war correspondent, Arthur Hess, has made his living taking photos of some of the world’s most violent places. But when his eldest daughter is publicly murdered, it is the photo he takes of her corpse that threatens to destroy both his family and his name. Inspired by The Oresteia, TROY is a play about the perplexity of grief in a war that is happening both far away and in our living rooms.  

Fairy Tales Against Humanity Like children’s theatre gone horribly wrong, “Fairy Tales Against Humanity” is a new half-scripted/half-improvised show. This is one of those big Fringe #ChanceIt shows. It could be horrendous but it could be hilarious. I’d probably #DrinkBeforeIt.

Here There Be Dragons: A Journey from Fear to Freedom with Ukrainian Dog and Shredded Cheesedid you read that title? Taking chances on shows like this are why Fringe Festivals exist, in my opinion.

50 Shades of Shakespeare – Twelfth Night with four actors. It’s been done, but you, the audience, picks who plays who. I’d easily give this show 45 minutes of my life. Learn More at www.lanewcourttheatre.com

Keep up w/ See It or Skip It LA Correspondents’ Picks here

[New] Artist Statement

I applied for a grant recently. I didn’t get it, but was forced to detail how I went from a theatrical director to digital media consultant and now straddle writing with my consultant freelancing and being the primary caretaker of my son (Lil’ Pirate Dude).

It’s a little long, which I’ll fix for the next round of grant applications, but I thought it might be of interest to tie together all of my interests.

I am Cindy Marie Jenkins, CMJ to many. I am a Storyteller, Outreach Nerd, Parenting Nerd, Mama to Lil’ Pirate Dude, Theme Park Wife, Former Theatre Director, Fairy Folk Myth Nerd, and Recent Transplant to Orlando (remember the Theme Park Wife part)?

For a decade, I’ve been obsessed with building new audiences for theatre. This began when I realized I was sick of doing all that work just for my family and friends to see. Sure, we can enrich one another, but art within the echo chamber is not enough for me.

        Through a six year project Voices From Chornobyl, I found success in reaching peopleVFC through a theme, a topic rather than people showing up to “support theatre” just for the sake of it, or because our friends are in it, or because we all work in it. At the same time, I was in charge of marketing for a small classical theater who had a stellar reputation but still struggled for audience and funding. It became clear to me that the ways that marketing had worked for decades were not nearly as effective with the age of the internet, and artists were falling behind the times faster than newspapers. Keep in mind, this was way back in 2009 when you still had to convince a theater company to go onto Facebook; the mere suggestion that you had to think beyond a press release was a battle, uphill both ways. I heard many artistic leaders take the simple route of blaming smartphones instead of exploring them, and condemning audiences rather than investigating their strategies, or even talking to them.

           I reconciled my dreams with the fact that the typical theatrical career path is not for me. I always knew that art could serve a real purpose in changing how people think. Through and beyond empathy, showing how others live and think can go a long way towards opening minds.  I didn’t want to direct whatever came my way just to grow my career. I enjoy entertainment for entertainment’s sake, but I want to create art that holds great value beyond the production. I want to use stories as a bridge towards greater empathy in the world. Every time I chose a project based on the greater good it could do for society, I worked at my best and was happiest. Every time I took a gig for any other reason than great passion, I felt limited by the story’s (lack of) need to exist, my lack of connection as to why, and didn’t do my best work.

Then in 2009, through an outreach project called Imagine East Hollywood, I worked closely with the East Hollywood Neighborhood Council and identified that local government faces the main two issues as most theaters had: (1) they only reach the same people and (2) if you don’t know they exist, then you can’t show up, never mind get involved. Beyond that lie at least ten hassle factors to stop someone from attending either. Most people didn’t even know they lived in East Hollywood. I used a film project, interactive visual art display, outreach tables at LA wide events and an immersive theatre experience to help people understand the agenda and workings of a neighborhood council, plus learn how their ideas could help their neighborhood and turn them from passive residents into active stakeholders.

These experiences led me to train myself (with guidance from Enci Box and Tamara

Krinsky) in social media, new communications models, and generally critique most vague, short term attempts to develop audience. I became an Outreach Nerd and trained individuals, then groups of self producers, and quickly added nonprofits, the City of LA and small business owners to my clients.

This quest for the audience led me to Manchester England, where I gave a keynote speech to Chernobyl charities on using my play, adapted from a book of interviews, to raise awareness and funds for their work. A 9-minute demo film was used to entice new donors. By 2006, the 25th Anniversary of the accident at the Chernobyl nuclear power plant, two groups in the UK did perform the piece, and my own ensemble led a series of readings throughout LA and San Diego. We also produced a workshop of Voices From Chornobyl Jr at local libraries and the Hollywood Fringe Festival.

This desire led me to brand myself a Storyteller AND Outreach Nerd, to align the idea of writing and stories into audience building, tying my name to “outreach” rather than “marketing” in an effort to change the direction of people’s thinking about their audience development.

This obsession led me to 24th STreet Theatre, where I could focus on acting as concierge for families to find quality art they enjoy together, while finding the correct medium to share stories that happen every day in this converted carriage house in South LA.

This adventure led me to experimenting with arts coverage during every Hollywood Fringe Festival, from interviews over Twitter to Google+ Hangouts, then from a full-fledged arts review show to podcasts and instagram reviews.

This need to find and engage arts-adjacent folks while feeling increasingly frustrated with theatre as an industry also led me to the longest crisis of faith I’ve ever experienced. Just as I was seeking a new direction, theaters called on my “marketing” (cringe) skills more and more. The more I was expected to just do the short term work that I knew didn’t last and that I so despise, the more I understood that my current path was not working for me. I don’t just want to be the one training artists to change their mindset on audiences; I don’t just want to be the ambassador to new audiences anymore. I also need to create the art that draws new audiences in the door simply by being good and meeting audiences where they live. In many cases, that requires me to move my creative writing as far away from a theater as possible.

Currently I freelance as a Consultant and Writer while raising my beautiful son.

 

Artists Watch List: Jaeger Christian

I saw this phrase a lot: “Part of what I love about Fringe…..” and one of the parts is watching how artists develop over the years. I like to follow different creators in between Fringe as well, but many only produce for Fringe.

Jaeger Christian is the biggest winner in this category. I was so excited by the idea of his 2014 piece (a new musical about PTSD) that seeing it was very disappointing. He needed a co-writer, a dramaturg, a director…..but something about his heart, his sincerity in the pre-show speech made me pause. It went beyond someone who believes in his work. It didn’t, however, save the show.

So this year I noticed he has two solo shows, The Board and The Backpack. I only saw that The Board existed because it happened to fit into my schedule one night. He went from a new musical to two monologues, still related to the service. I felt that he got the right feedback last year or instinctively knew to return to basics, especially for a Fringe Festival. Focus on the story. He clearly has a lot to say (without being didactic) on the military and I appreciate how he chose to express it this year.

With The Board, he says if you’re into TV shows like “Law & Order,” “Homeland” and “The Shield,” then you’ll like this play. I only know the first one, but he seems right on the money. Sarah Hollis tells the audience her story, who act as her jury. Clearly she’s in trouble for something, but all the whys and wherefores and intricacies aren’t untangled until near the end. Even then, her fate isn’t revealed.

I personally would have preferred it without the marriage story, but it did play into the plot. Overall, the story was completely compelling and I listened to every single word she said on that stage.

The main point here is that if I hadn’t seen the artist at his pre-show speech for last year’s musical, felt something tug at me through his personality and choice of material, then seen that his latest offering fit into my schedule, I wouldn’t have given him another chance. And all those things couldn’t have happened in another space except a Fringe Festival.

Jaeger Christian is now on my Artists Watch List.

I gave this show a #SeeItLA rating. Find more shows on SeeItorSkipItLA.com .

#SeeItorSkipItLA at Hollywood Fringe

See It or Skip It LA is a way to introduce you to the Hollywood Fringe Festival (and other cool art around LA).

Want suggestions for shows to see? Check lists below and listen to podcasts for details.

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#ChanceItLA – our Picks for Hollywood Fringe Festival 2015

#SeeItorSkipItLA
Coverage of 2015 Hollywood Fringe Festival
Hosted by Cindy Marie Jenkins ( @cindymariej ) as part of @SeeItorSkipItLA

More info at http://www.seeitorskiptitla.com &
https://cindymariejenkins.com/see-it-or-skip-it-la/

Correspondent Guests:
Sara Fenton (@Fentonova)
Lemuel H. Thornton III (@Lemwerks)
Madeline Rosenstein (@mfrosens)

Shows to #ChanceItLA (click on title for websites):

ALL AGREE:

Four Clowns Presents The Halfwits’ Last Hurrah

LEM

*Jason and Medea

*Getting to Know You

*Hamlet Mobile

 

SARA

*Tiananmen Annie

*The Three Musketeerers: Clowns with Swords

*Skanky Me from Kankakee

MADELINE

*The Blacks a Clown Show (Cindy note: in their Fringe profile page, they claim to be “remounting America’s longest running off-Broadway play”. I think they mean “revive,” not “remount,” as the original off-Broadway production opened in 1961 and this company didn’t produce it. This may have no bearing on their ability to produce a fine piece of art, but a mistake like that does make me hesitate and I personally won’t be prioritizing it. I saw this on their page after we recorded the podcast.)

*5 Sirens Beware of Rocks

*The Devil You Say

*HollywoodFringe.org/free

 

Cindy

*The Voyage of Odysseus

*The Snail

*Romeo & Juliet: An ASL Love Story

 

HONORABLE MENTIONS

Why Water Falls

50 Shades of Shrew

Marry me a Little (Cindy note – Probably only interesting for Sondheim lovers)

It’s the Prom 

Two Girls, One Bard 

8:03 

Wombat Man

Danny and the Deep Blue Sea

Timeheart by Robot Teammate & Accidental Party

Alien vs Musical

Catherine: Jane Austen’s Northanger Abbey in Today’s LA 


Other Correspondents:
Kat Michels (@fictionoftruth)
Courtney Ann Buchan (@CourtneyABuchan)

Sponsored by Theatre Asylum (@TheatreAsylum)

Shakespeare Adaptations – a Pirate Podcast

I noticed quite a few new Shakespeare adaptations that went far beyond the typical change of setting. After

Their pose is way more refined than their conversation.

Their pose is way more refined than their conversation.

seeing even more pop up in this year’s Hollywood Fringe Festival, I invited some artists to discuss the hows, whys and challenges of adapting The Bard.

 

Shakespeare Adaptations on Stage & Screen

Hosted by Cindy Marie Jenkins

A Pirate Podcast (down and dirty) as part of @SeeItorSkipItLA

 

Guests:

“The Hamlet Project’ by Loose Canon Collective LA

Randolph Thompson & Paul Culuo

 

“Titus and Dronicus” by Better Than Shakespeare

Megan Kelly & Madhuri Shekar

 

“Two Girls, One Bard” by The Illyrian Players

Carly Weckstein

 

Sponsored by Theatre Asylum

Produced by Lemuel H. Thornton III

 

Call for HS/College Interns on New Web Show – The Lemon Lounge

Set to debut during The Hollywood Fringe Festival in June, The Lemon Lounge is a webcast program featuring local artists, variety BillyLemonHeadFringe-100x100segments, interviews and curated selections by “Outreach Nerd” Cindy Marie Jenkins and guests every week. It aims to provide audiences who typically don’t attend Fringe with a jumping off point of what to check out and who to see, with an eye towards extending the show to all of Los Angeles post-Fringe. The Lemon Lounge will be streamed on YouTube and archived on the Bitter-Lemons website.

WHAT WE NEED?
We are looking for people to assist with pre-production, production and social media. E-mail lemonlounge@bitter-lemons.com with a short cover letter and resume telling us why you want to be on our team.

Specifically (You can combine any of these):

  • SOCIAL MEDIA: 1 hour each week that you can touch base and start training (starting whenever you’re available) . Training by me, Cindy.
  • PRODUCTION: We will need it most on Sundays 9:30am-1pm.
  • PRE-PRODUCTION & PRODUCING assistance is needed as well.
  • CORRESPONDENT: If you want to see shows for free and make short videos about which ones you suggest, we will arrange those tickets for you.

Training provided as needed.

WANT TO JOIN US?
We’re looking for interns in a range of skills to help us make this production come to life. As an intern we want you to have ownership of your end of the project. We are excited to work with you and have you learn more about what it takes to work in web production and theatre worlds. This is a new and flexible process with an opportunity for creative input with the right team. We’re looking for Interns and staff to join us for college and/or production credit (depending on your institution’s guidelines) beginning in May.

www.TheLemonLounge.com
Read more about ‪why I created The Lemon Lounge.

Please send questions to LemonLounge@bitter-lemons.com

 

#LemonLoungeLA on 

 

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