Generic Male: Just What We Need, Another Show About Men

Posted on by Thor

This two man show at the Orlando International Fringe Festival was quite hilarious. The show features Ashley Jones and Darren Stevenson using acrobatics, clowning, and physical theater to deconstruct and skewer outdated stereotypes of manhood. To start they asked all the men to stand in the audience. In one point in the play there was to be a call and response, and the men of the audience had to grunt out their response as loudly as they could. The second acrobat was pulled out of the audience making it seem like he was your average man.

One particularly funny routine had the two men pulling long johns high up over their shoulders and then their hands were held down near their crotch acting as sock puppets. The from inside the crotch. There were were many costume changes and some more racy numbers where clothing was just an afterthought. These acrobats were ripped.

One intriguing routine had one of the duo having an in-depth manly conversation as he used the other man as a chair. He then crawled over, around and upside down between the legs of the other man, using him in a delicate balancing act. I resisted sketching these more precarious moments since I knew it would be a problem to make them believable since they would only last qonly fraction of a moment.

I chose to sketch a rather still moment in the action where one actor stole a chair from the other. The heated discussion for the other actor to be permitted to sit dug much deeper into hidden resentments, where minor concessions would not appease a pattern if taking while offering little in return.

I find that describing the action is difficult since what the two would do often defied gravity. What is more important is that I was laughing out loud throughout. This was a wild fun show presented by Push Physical Theater of Rochester New York.

A Christmas Carol: Final Poster

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For the final A Christmas Carol poster for the Orlando Shakespeare Theater had to revise Mrs. Cratchit and I think she turned out well. Tiny Tim was updated and I paid particular attention to how the leg braces were assembled. I pumped up the light shining from behind Tiny Tim to get him to pop out from the background better. Ebenezer Scrooge just needed a top hat. Cratchit was revised several times. He isn’t holding Tiny Tim as solidly so I think his intention is a little lost but overall the poster is working solidly.

If I were to assemble all the Christmas Carol posters together, both approved and not, it would make a fun collection. Many feature this dark snow filled gas lit street scene. For some reason A Christmas Carol for me is dark and brooding with bright sparks of light and hope.

I have been doing write ups for all these posters because I realized that I didn’t have time to do write ups at the time the shows were being performed. I am thinking there should be a category on this site for process images that show the evolution of any given concept. Illustration is seldom a one and done approval process. Changes are very much a part of the creative process. I am always searching for a way to express the idea behind a show as boldly as possible. Each poster has it’s own challenges. I started doing these posers after doing a painting every day during the height of the pandemic. I gather my thoughts and assemble the ideas in very much the same way I did then. Working digitally is a blessing. Changes can easily be made, especially if I plan ahead. If a character must be removed or replaced. I can often just turn off a layer in the painting program to make that happen at the flick of a switch. Another advantage is that the previous version remains in memory if I should want to refer back to it.

A Christmas Carol ran at the Orlando Shakes from November 26-December 24, 2025.

Fringe: Dolly F***king Madison

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This Orlando International Fringe Festival show was at Ten10 Brewing which was packed. I managed to find a spot at the back of the room at a picnic table. A full-length portrait of George Washington. An American flag stood at center stage. America’s first president was hung on stage. I started this sketch fascinated by a cowboy seated at the bar.

This Fringe show was about Dolly Madison, the wife of James Madison the fourth president of the United States. In the War of 1812, America was once again at war with Britain because American trade with France had been limited. In 1814, America lost a major battle and the British invaded Washington DC.

Dolly Madison was a highly regarded hostess who held parties at the White House that brought both parties of government together to discuss policy over food and drink. She helped to establish the idea that members of each party could amicably socialize, network, and negotiate with each other without violence. She essentially created and nurtured bipartisan politics.

Two British Soldiers entered the stage from the back of the theater. A private was played by Brandon Roberts who was glad to accept a cup of drink from Dolly Madison. What followed was an open discussion about what makes American politics work. Brandon’s superior officer was a misogynist who firmly believed women had no place in a male dominated society. Brandon started to understand and accept Dolly’s position, while his superior stood firm. When the first lady shouted out, “Do you have any idea who I am? I am Dolly F***king Madison!” The audience went wild.

Brandon, whose speech began to slur, started to talk about King Charles who was narcissistic and was showing signs of irrational dementia. It was clear that the king was acting very much like the 47th president of the United States. When Dolly explained the system of checks and balances in the American constitution that should keep such a madman from absolute power, the audience cheered.

The British wanted to burn the house down, but Dolly made sure that the portrait of Washington and important documents were saved. She talked the British soldiers into helping her get the portrait off the wall. By the end of the scene even the patriarchal British Lieutenant was sitting and started to accept Dolly’s hospitality and opinions. Reason was winning over force.

British troops led by Major General Robert Ross entered the city of Washington DC and set fire to the U.S. Capitol, the White House, and other public buildings. The burning of Washington, D.C. marked the only time since the Revolutionary War that a foreign power has captured and occupied the U.S. capital.

Though Dolly could not stop the rampage, she managed to talk reason to two soldiers. The world be a much better place if a woman could lead the country away from violence and towards rational thought.

I love a play that introduces some often ignored history and manages to make it feel very contemporary.

Brandon, if you are out there, get in touch with me at analogartistdigitalworld@gmail.com.I want to get this original sketch to you.I am drawing a blank trying to get in touch with you through Facebook.

Fringe: Private Parts: The Secrets We Keep

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The acclaimed one-woman show Private Parts: The Secrets We Keep, was written and performed by female actress and masterful storyteller Joanna Rannelli in Ten10 Brewing at this year’s Orlando International Fringe Festival. Her show was candid, raw  and often funny.

When she started reflecting on her youth, her story started to cause me to reach deep into my own memories which I had long swept into the recesses of my mind. She started talking about her mother being in the hospital. Relatives decided it would be best if the young Joanna did not see her mother when she was so close to the end of their life. I imagine they must have wanted to save the young Joanna from seeing her mother so sick. They were trying to shelter her from pain.

The Joanna’s reaction was anger. Who were they to keep her from seeing her mother? This triggered a deep anger that I had felt when I was not allowed at 10 years old, to visit my mother in a New York City Hospital. A candy stripper at the hospital had given me a small kit to make an art project which I had made to give my mother on Mother’s Day. Joanna’s mother had died around Mother’s Day as did my mother. I never got to give my mother the art project I had made. Joanna’s story caused me to feel that deep hidden anger and I had to stop sketching because the tears caused my vision to distort and blur. Mother’s Day has always been a painful day that I try to ignore.

The same people who wanted to save me from seeing my mother in the hospital then allowed me to go to my mother’s wake and funeral. A room full of people sat and looked at my mother’s open coffin. Someone whispered in my ear, “Doesn’t she look peaceful? It is as if she was sleeping.” I spent the next hour watching my mother’s chest waiting for her to take a breath. She never did.

Johanna’s show also went on to deal with long hidden memories of assault and difficult relationships. Her stories are her own to tell. There were also so many stories filled with joyous delight. In the end, she left me feeling hopeful and delighted to celebrate each day that we all have on this earth. This show was such an emotional roller coaster. She knew how to reach in and touch hidden memories. She was telling my life with her words.

There were only four opportunities to hear this consummate storyteller. I am so glad that I was in the right place at the right time to allow her stories to bring back hidden memories. This was my favorite solo show at this year’s Orlando International Fringe Festival.

Fringe: Awaken

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Cindy Heen is the Founder and Artistic Director of Emergence Dance based in Orlando Florida. Having sketched Emergence Dance rehearsals in the past, I knew that Awaken at this year’s Orlando International Fringe show could be an emotional roller coaster. Ed Anthony, one of DEM Guys, had given me a fountain pen to experiment with to do this sketch. The line work was fluid, and I was having a blast catching the dancers gestures while being inspired by the story line and choreography.

Awaken had a circus act announcer with a top hat and formal attire. She performed her spoken word introductions with verve and aplomb. The dances followed the stages of grief. It is a story that has weaved it way through my life and every creative soul’s life. Early dance routines expressed loss and pain and over time that dark chaos was replaced with healing and acceptance.

The line sketch I was working on felt lively and fluid. I loved the fountain pen I was playing with. Then I started adding watercolor to the page. I placed a few flesh-colored splashed o the page. The lines exploded and every wash I put on the page turned dark black. I realized eventually that the ink in the fountain pen I had borrowed was not waterproof. If I were to put a large watercolor wash on the whole page every line would bleed turning the whole sketch black. The darkness of grief was winning the battle to dominate the sketch. Delicate details I had sketched were being washed away. I had to work hard to keep light and hope in the sketch. Working in the dark theater I was not sure what the final result would be.

The dancer who was overcome with grief was helped on her journey to recovery by other dancers who refused to let her waste away. It is a story of hope and being able to rise from the ashes. Eventually her fractured and distorted movements became fluid and joyfully graceful. Pain turned to sharing and pleasure.

As I was sketching, I was afraid that I would lose every line I had put down on the page, but then I accepted the chaos and started to enjoy the uncertainty. There was so much more beauty than darkness but fate insisted that darkness should dominate the sketch.

This captivating show had 5 performances at this year’s Orlando International Fringe Festival.

Fringe: Liquid Sunshine 2

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I got to sketch Zelda Grey‘s one woman show, Liquid Sunshine last year and fell in love with her soul-filled performance. I wondered if I should sketch Liquid Sunshine 2 this year and decided to take the chance. I am so glad I did, because this year’s performance by Zelda Grey was a world different that the solo show she did last year. This year she had a full band, The You Know Whooz. They performed original songs from Zelda as well as lead guitarist Jeremy Lovelady and bassist Brian Byle. The drummer is Derek Engstrom.

There was a relaxed vibe between the band members and Zelda. They were so well rehearsed and I could feel feel their joy. As I sketched I was tapping my toes and rocking to the beat. Zelda knew a couple of the female artists in the front row, and she got them involved in the chorus of one song. One artist resisted, but then shouted out the lyrics of the chorus and the audience went wild.

The sketch I did was very different than any other sketch I did at Fringe this year. When I searched through my art bag, I discovered that I had left my pens and brushes back at the studio. I just had a tin of colored pencils. The music was so inspiring that I didn’t consider that a setback. I picked up colored pencils at random, and the lines danced on the page. Honestly, I should work like this more often. I cared less about accuracy and let the music establish the flow.

Zelda really pumped up her singing performance when she stripped off her guitar. She became a fierce singer, and she had the audience in her grip. I was mesmerized. I stopped sketching when the performance reached a fevered pitch, and I let the power of her singing just wash over me.

There is only one more performance of Liquid Sunshine 2. You don’t want to miss this performance. They will blow you out of your seat. As a matter of fact, you might find yourself wanting to get up and dance to let the music flow through every fiber of your body. Though I didn’t get up and dance, I felt the lines I was putting down dance to the beat. This show is pure unfiltered passion. If you are seeing several shows in a day, then Liquid Sunshine should be your concert intermission which will rejuvenate your soul with pure joy.

The final show for Liquid Sunshine 2 in the Brown Venue in the Shakes. The show is rated 13 and up and runs 60 minutes. Tickets are $12. Be sure you have your Fringe button for admittance.

Sunday May 24, 3:00pm

Fringe: Automatic Orchestra, Just Add Music

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At this year’s Orlando International Fringe Festival, Automatic Orchestra: Just Add Music in the Blue Venue of the Orlando Shakes is an immersive improvisational orchestra where the actors are inspired by the music created by the audience. Entering the venue, there were various methods of making sound in every audience seat. I moved a rattle from my seat over to the next seat. There were kazoos, cooking pans, one of those metal barrels with metal beads wrapped around it, and so much more. I was hoping to play a trumpet while I sketched, but I didn’t see one. I would just be making the sound of a pen scratching on the page.

Actors entered from back stage and through magic portals. There were duels, fights, peaceful negotiations and so much action.  No actor ever spoke, they simply listened to what sounds came from the audience to decide what they should do next. The audience also fed off of the action. The fellow seated in front of me to my right banged a pot any time a gun was fired. It was as if the entire audience was hired to act as folly artists. Since my hands were busy sketching, I simply hummed and made other vocal noises.

If there was a story line, I missed it. Not knowing what was happening made sketching a challenge. I like to think of what the verb is before I start sketching someone. Chaos begets chaos. Kayla Fischl from her show Unconditionally, acted as the guest conductor. She had a music stand in front of her, but every member of the audience had their own agenda in terms of making sound. Conducting would be like trying to herd stray cats.

It was an hour of nonsensical experimentation. With a drink or two in you and a very open mind, you will likely have a blast. Just don’t go in expecting any three act play with  a well-defined character arc. Go in to laugh and make plenty of noise.

Here are the remaining show times for Automatic Orchestra, Just Add Music presented by Renie and Bob Productions of Altamonte Springs Florida. In the Blue Venue in the Shakes. Rated for all ages. Run time 60 minutes. Tickets are $13. Be sure to pick up a Fringe button for entry.

Saturday May 23, 5:24pm

Sunday May 24, 6:55pm

Fringe: Onwards!

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Onwards! presented by Big Empty Barn Productions from Montreal Canada starred Bremner Fletcher Duthie who sang and played instruments while telling stories. Around the stage were a series of lamps which could be activated with foot switches. Each of his variety acts would require different lighting which he initiated with taps of his toes.

Bremner was tires of auditions. Auditions require an actor to want to fill the role of what someone else requires of them. He reenacted an audition of  some insipid ad campaign to comedic effect. At first he delivered the line fairly straight. Then when asked to show more enthusiasm he overacted the line with operatic bravado. It was hilarious but at the audition he was told to get off the stage.

Fringe helped him realize that he didn’t need to wait for someone else to offer a role that might not fit his personality, but instead he could perform for himself. In a world that increasingly relies on robotic messaging it is more important than ever to remain human and chart your own course. The show had the flavor of an old time vaudeville act.

I couldn’t find any one theme that tied together all the acts but it seemed like Bremner was having wild sweaty fun, so I gladly went along for the ride.

Remaining show times for Onwards! Big Empty Barn Productions Montreal Canada. Yellow Venue in the Shakes. Rated 18 and up. Tickets are $15. Be sure to get a Fringe button for entry.

Saturday May 23, 8:30pm

Sunday May 24, 7:35pm

Fringe: The Black Jack Show

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The Scarlet venue at the Orlando International Fringe Festival seemed too large for The Black Jack Show. I suspect the puppeteer is used to performing for one or two people at a time. Jack and Black are two hand puppets that host a variety show that included torch songs, shadow puppets, a dog, a vampire comedian, a lion dance and two white gloves that performed between acts.

The white gloves were in my mind that stars of the show. They were entertaining and played off one another magnificently. After a puppy marionette pranced around the audience one of the white gloves popped up with puppy ears on. There was something magical about the simplicity of those two gloves. They had a humerus shtick that played off of every other act.

A COVID-19 puppet came out 3 separate times to sing cabaret numbers. Since I animated a film about COVID-19, I know that audiences are not that receptive to being reminded about how humanity, and America in particular, is ill equipped to handle an outbreak. As the COVID puppet performed her songs, I could see people in the front row begin to shut down. One person was literally nodding off. Since people during the height of the pandemic refused to accept reality by saying the virus was a hoax and vaccines carry microchips, they certainly don’t want to be reminded that COVID is now endemic and will always pose a threat to our immune systems. I was rooting for the singing COVID puppet, but her performance was accepted like a lead balloon. She left the stage saying, “I’ll be back.”

The little puppy marionette was cute, but it really didn’t have any performance potential other than sitting on its hind legs and panting. The puppeteer, who looked suspiciously like Rasputin paraded the puppy up and down the aisles of the audience. Very few people could see the puppet, so they sat wondering what was going on. It would have been nice if there was a much higher, eye level stage the puppy could have performed on.

There was a shadow box with white frosted Plexiglas on the front of it. A flashlight and shadow puppets were moved around behind the Plexiglas. The light from the shadow box illuminated about 5 people in the audience. From where I was sitting, I could not see what was being shown. From my vantage point, I was watching the puppeteer struggling to find the silhouette figures and juggling the flashlight. The flashlight kept falling as he searched for the next shadow puppet.

The lion dance puppet was much like the little puppy. Few people could see it since it was on the floor rather than up on a stage. The lion dance marionette just jumped up and down. I was just left wondering why?

Overall, this puppet variety show left me confused rather than entertained. A few drinks consumed at the beer tent before the performance could make the puppetry more palatable.

Remaining show times for The Black Jack Show by the St. Vetus Theater Company Orlando Florida. The show can be found in the Scarlet Theater in the Orlando Family Stage (1001 E Princeton St, Orlando, FL 32803.) It is rated for 13 and up since there were some mature themes but no puppet sex. The show ran for an agonizing 60 minutes. Tickets are $12 and be sure you have a Fringe button.

Friday May 22, 7:15pm

Saturday May 23, 1:15pm

Fringe: Queer!

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Queer! Celebrates Latinx Queer resilience at the Orlando International Fringe Festival. The cast, each in turn, tells stories if growing up and feeling different that those around them. One female even conformed and lived the life of a mom. Deep down she knew she was stifling who she really was. Some stories were told through music, movement and projections. Some were spoken word which often resonates with me.

The stories were all tied together with a common thread of courage in being able to remain unique in a world that often the violently demands conformity. With some story tellers I would stop sketching, transfixed and wanting to quietly take in all I was being told. Some stories demand moments of quiet reflection.

Two big screens acted as bookends on either side of the stage. When the cast was speaking Spanish, the screens would project English translations. When the cast spoke English the screens projected Spanish. I loved that touch of inclusion.

America has turned dark by making war on our Latin neighbors with ICE raids. Florida leads the nation for ICE detentions and is home to Alligator Alcatraz, a concentration camp set up in the swamps southern Florida. This show is a reminder that Orlando remains a bubble of acceptance in a country that has gone mad.

The stories in the show, however, were not about politics or mistreating neighbors. The stories resonate with strength, determination and love. That is a message we need to hear in these times. No matter what your ethnicity or sexuality is, you will love this cast.

Remaining show times for Queer! Presented by Descolonizarte Tearo, Inc. Orlando Florida. Silver Venue. Rated for 13 and up. 70 Minutes. Tickets are $15.

Wednesday May 20,9:50pm

Thursday May 21, 6:30pm

Friday May 22, 6:30pm

Sunday May 24, 5:35pm