Orlando International Fringe, Awards Ceremony

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I got to the Fringe Green Lawn of Fabulousness early to secure a spot to sketch the Awards Ceremony. I decided to sit at a spot that had a view down the center aisle of the approach to the stage. I was the only artist sitting at a long picnic table. Behind me a group gathered at another table. An actress at this table invited me to lean in and join their group. I am glad I did because there were so many amazing conversations happening leading up to the ceremonies. It was wonderful just being on the lawn and watching the sun set.

The Awards Ceremony started firing up when there was a flash mob dance scene along with stilt walkers in front of the outdoor stage. The conversations at our table were so heated that many didn’t notice the dancing going on. I resisted the urge to sketch until it got darker out.

This is the last sketch I did at this year’s Fringe, however there are three other sketchbooks filled with Fringe sketches being held hostage by a printer in town. Some Fringe artists have ordered prints from their shows and so I am waiting for the printer to get those done in a week or two weeks’ time. I suspect I will have to go and pick up one of the sketchbooks today so I can continue posting Fringe sketches.

Whenever an award was announced the audience would go wild. Having seen and sketched so many shows this year, I felt so much more invested in the awards since I had seen most of the shows which were winners. I hooted an hollered as loud as anyone. A couple of people at my table covered their ears and slipped away early, but I rejoiced in the loud chaos. Such energy fuels a sloppy but energetic sketch.

Critics’ Choice Award Highlights

  • Best Show: Then, Eve – A seriocomic monologue by Billie Jane exploring identity in the Garden of Eden.
  • Outstanding Comedy Play: Dolley. F*king. Madison. by Michael Knight, focusing on American democratic ideals.
  • Outstanding Original Script: Aradhana Tiwari for Byte, exploring AI and human relations.
  • Outstanding Ensemble: Queer!, highlighting Latinx experiences through story, song, and movement.
  • Outstanding Individual Performance (Comedy): Michael Knight.
  • Outstanding Individual Performance: Alexander Mrazek in Once Upon a Traitor and Robin Olson in The Sting of Revenge: A Prequel of Sorts.
  • Outstanding Individual Performance (Musical): Tymisha Harris for her roles in Bullock & the Bandits IV, Masquerade of the Red Death, and Josephine.
  • The Beth Marshall Spirit of the Fringe Award: Renaissance Theatre Company.

Fringe, Sting of Revenge: A Prequel of Sorts

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Squishing the Patriarchy of Orlando Florida presented The Sting of Revenge: A Prequel of Sorts at this year’s Orlando International Fringe Festival. I had sketched the Bugged Lady at a previous Fringe where she told a tale of revenge against a professor who abused her trust. That show was in a teaching lab at Leu Gardens which was perfect to present her creepy crawly arachnids.

Sandi Lynn wrote and starred in the play which was directed by her son Clark Levi. She played the part of the Bugged Lady and Robin Olson played the peppy high-school acquaintance.

The Bugged Lady ran into her old high school acquaintance, and they sat down for a coffee and a chance to catch up. The friend loved her high school days as a cheer leader, but the bugged lady only found her passion when she started studying bugs as an undergraduate. She excelled at understanding the power of venom.

Conversation turned to a boy in high school who got a girl pregnant and she had to drop out of school to have the child alone. The cheer leader wasn’t aware of this story and it turns out she ended up marrying the boy, who over time grew resentful and abusive. When the bugged lady learned of the abuse she began to convince her high school acquaintance that she had a deadly solution.

The bugged lady had a clear box in her bag that had a scorpion. She took the box out and gently shook the container which resulted in the scorpion raising its poisonous tail. AS she discussed her proposition, she walked the scorpion around the room so the people in the front row seats could get a very clear look and feel rather uneasy.

I was disappointed to learn that this would be the final showing of the bugged lady. There is a visceral pleasure in having a middle-aged woman get away with murder, but it would be nice if an intelligent female detective could get close to discovering the venomous secret.

Robin Olson won a Critics’ Choice Award for Individual Performance in Drama for her portrayal of the emotionally distraught woman in the play. From where I was seated, I mostly saw the back of her head, but her performance as she weighed right and wrong was very convincing.

As I worked on this sketch, I ran out of water for my watercolors. I had to spit on my palette to add the final washes. This resulted in some rather sickly and rough washes. Maybe this messiness was meant to be for this show about planning a perfect murder.

Fringe, OZMA: A New Musical

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OZMA: A New Musical was a stunning production based on The Wonderful Wizard of OZ books by L. Frank Baum at this year’s Orlando International Fringe Festival. The show featured a stunning original score by Mikayla Thompson along with an inspired book and lyrics by Tyler Scott, Bryan Jager, & Emily Holcomb, this unique vision of the Land of Oz combined puppetry, drag, music, and dance to create an enchanting new American Fairy tale that celebrated and uplifted the culture and spirit of the LGBTQ+ Community. Of all the shows I saw at this year’s Fringe this one felt the most cohesive and polished as if it was ready for a full-on production on Broadway.

After Dorothy’s departure from Oz, the wicked witches attempted to seize control. All four witches in the production were drag queens with 2 wicked and two good. The evil plotting of the witches, Nebula Moon and Lexi Long was countered by Glinda the Good Witch played by Annie Daynow, who was the sassy diva of the land and Ella Mayo.

The tale was a hero’s journey with Tip being joined by a magical cast of characters, including  a scarecrow , named Pumpkinhead, and a charming character named Scraps, who was a patchwork quilt, along with a wooden horse puppet and a stiff robotic character who was a perfect straight man. I fell in love with the exaggerated poses and acting of these lively vaudevillian characters.

A queer orphan named Tip was the main character. Tip was raised by the wicked witch Mombi who hid Tip’s true identity. Glinda the Good Witch was Tips ally and mentor who helped break the spell the Mombi cast which caused Tip to forget the past. By the end of the play Tip came out in a glorious white gown looking resplendent. Tip had transformed back into Princess Ozma, who rightfully reclaimed the throne of Oz.

The show explored a heartfelt exploration of self-discovery, identity, and finding a chosen family. In these dark times in America it is a message that needs to be told. The show was an undeniable breakout hit.

OZMA: A New Musical was a major award-winner at the 2026 Orlando International Fringe Festival. The production by House of Wayward Queers took home three notable honors:

  • Critics’ Choice Award for Outstanding Musical
  • Patrons’ Pick Award (based on show popularity, which earned the production a coveted encore performance slot)
  • Fringe Impact Award (awarded to leading lady Natalie Rodriguez for her performance as Princess Ozma.

Fringe, Fogville: A Sparkly Vampire Parody Musical

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This fun original musical parody is built around the Twilight franchise. A clumsy and introspective new girl, Stella Moonswan played by Kristen Lee Vire, arrived in Fogville and  the social clicks did not know what to make of her. She didn’t quite fit in any of the normie school groups.

Everything changed when a moody vampire Edgar Sullen, played by actor Ansley Arthur, dressed all in black, rolled onto the scene on a tiny pink bicycle. In every scene he pouted and looked dark and brooding. How could Stella resist that?

When Stella and Edgar met, he confided that he had been stalking her for some time, admiring her creamy neck when she slept at night. That isn’t too creepy. She kind of liked the attention. They were drawn to one another like two magnets, but he would always pull away when they grew close since he was immortal and couldn’t be with some one who would die in less than a century.

A very handsome werewolf, Jake WolfWhite, played by actor Fredy Ruiz entered the scene. He had long wild hair and didn’t were shirts very often. He warned the new girl about Edgar and his thrist for blood. As a werewolf she would only need to be cautious around the full moon. My basic description lacks is plenty of dancing and musical numbers. This was all high camp fun.

I sketched a teacher writing on an imaginary black board and I got the pitcher of a vampire baseball team. I imagine vampires would only play baseball at in the dark making the ball hard to see. When a supernatural player hits the ball it could end up in the next county. The two facades were set up as brick walls and an outdoor setting when turned around.

Teen angst and misguided love are always a hit with me. The cast hit the ball out of the park with this parody. I am not very familiar with the Twilight franchise, but that didn’t matter. The campy plot had me hooked from the start.

Fogville: A Sparkly Vampire Parody Musical won multiple awards at this year’s Orlando International Fringe Festival.

  • Best of Fest: Awarded by the Orlando Sentinel.
  • Patron’s Pick: Given to the shows with the highest ticket sales.
  • Outstanding Director: Awarded to directors Bianca Matheson and Jules Bevilacqua.

Fringe: Sin: A Modern Musical

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At this year’s Orlando International Fringe Festival, SIN: A Modern Musical featured Jesus Christ (JC’s) return to a world that worships branding and social media relevance over faith. JC had to choose between building a fan base or finding love with a disciple named Judas. The actor playing Judas was particularly memorable in how he belted out his songs.

Rather than celebrating the return of JC, the internet blew up with rumors and innuendo that condemned his return. Inflammatory misinformation and rumors overplayed JCs simple message of loving thy neighbor. Love and acceptance is not a message that generated enough click bait.

Angels worshiped their iPhones and the dance choreography was fun to watch. Musical numbers were inspired by Lady Gaga songs. I knew that any musical with this much dancing would be a challenge to sketch. Despite the challenges, I enjoyed every moment of this production. I was pleased to see Kaylka Fischl performing in this show. She has been fringing hard this year always arriving at each show holding a sign with her show poster with marquee lights. She was dancing in SIN and at one point almost upstaged God performed by The Ginger Minj (Joshua Eads).

Towards the end of the show. JC and Judas had a passionate kiss which had the audience hooting and hollering. Any time and audience is that impassioned by characters finding love I am fully on board.

SIN: A Modern Musical” (produced by Unseen Images Theatre) was a standout hit at the 2026 Orlando Fringe Festival. While it did not take home the top Best Musical in the Critics’ Choice Awards (which went to Ozma), the highly acclaimed, queer-friendly production won several other honors.

It won Patron’s Pick: The show’s popularity earned it a coveted Patron’s Pick slot, adding an extra performance.

It won the Clean Sweep Award: The production sold out all of its original shows, earning this performance-milestone award.

Erika McDonald: Tea Time

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Erika McDonald has a squinting smile that is hard to forget. I have seen past Orlando International Fringe shows in which she performed and I was never disappointed. I therefore decided it was Teatime.  This performance was at the Savoy in the Starlight Room which is a short hike from the Fringe lawn. The room was packed.

The show was about time and finding an everyday ritual that brings some joy and satisfaction. Erika threw an orange extension chord with a loud clatter on stage as the audience filed into the theater. She unpacked her travel bag which was filled with items she carries everywhere to prepare the perfect cup of tea. She had a bowl-shaped device which accordioned upwards to become a Mayan temple of tea brewing. That was the device that required the chord. She joked that she should get a stipend for promoting the product since she gets so many questions about it. She also had a timer and multiple storage containers full of tea.

Preparing a cup of tea is ritual that Erika cherishes. She filled an empty tea bag full of a personal blend of tea leaves and sealed it up. She filled the boiling pot full of the proper amount of water and asked the audience to whistle when they saw the red light go on. The one thing she regretted is that the high tech travel sized tea pot does not whistle.

After putting the tea bag in the boiled water, the cup must be left to rest or steep. Stepping is the time it takes for the tea to achieve its perfect flavor. There are varying opinions about the perfect amount of time a cup of tea should seep.Erika set the timer for 3 minutes. It became clear that many humans in today’s fast paced society never take the time to steep. We are taught to rush through life never taking the time to steep or slow down to achieve a perfect creative bliss.

In preparing a second cup of tea, Erica abandoned the timer. She sat on the stool, smiling, and invited the audience to imagine 3 minutes. The room became perfectly silent. When the audience as a group imagined 3 minutes had passed they were to make a communal humming noise. It was a peaceful 3, 4 or 5 minutes. The point was that the time taken to wait isn’t a perfect science. It requires some instinct and a certainty that no matter what time was taken to seep, the tea would be delicious. If someone rushed you through a daily routine, you are permitted to say, F**ck off, I am steeping!”

I am hard pressed to figure out where the hour went. The act of preparing tea was an intimate ritual that offered many insights into Erika’s life and well being. It was time well spent.

Fringe: Poems for God

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Poems for God was a hilarious one woman show at the Orlando International Fringe Festival. Victoria Watson Sepejak, a Toronto based artist looked like a 10-year-old boy with baggy pants, a yellow jacket which was a bit too big, and a skull cap. Her mannerisms and her petite size made her very convincing as a young boy. People in the audience were throwing things at her on stage. They were not tomatoes, but she made it seem she was devastated any time an audience member managed to hit her. It was a fun interactive show from the moment the audience got settled finding their seats.

For her first sketch, she wanted to go sledding. She brought a black plastic sled on stage and then she saw her father in the audience. Her father was actually a surprised member of the audience. She asked him if he would pull her up the hill while she was in the sled. He agreed and dragged her around on stage. She took delight in every moment and expressed her affection for dad helping her out.

After a quick costume change, she sang about the ideal of womanhood while Belle from Beauty and the Beast was on screen singing about wanting more that her provincial life. One clip kept repeating of a gruff baker yelling at his wife, “Marie, the baguettes, hurry up!!”. Victoria read deep into the ongoing verbal abuse that Marie must have to endure. When repeated over and over, you begin to wonder if more than bread is pounded each day by the baker in this provincial village.

Late in the show, the actress performed as a men’s club dancer. She wore a cheep blonde wig and danced with plenty of twerking. I still couldn’t get over the fact that she still seemed to be 10 years old. The man she had brought on stage to act as her father now was brought on stage to squirt body lotion on her while she acted like she was enjoying the shower as if in Flash Dance. She opened her mouth but thankfully the dad missed the mark getting it in her eye and face instead. Though funny, it also felt very wrong.

This was a very funny hour that twisted ideals of affection, womanhood and sensuality.

Fringe: The Unbothering

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The Unbothering set consisted of hundreds of knick knacks hanging on screens at the back of the stage. Post its were pasted in an intricate pattern in an attempt to find order in the chaos. Marie was up against a website design job deadline that she has been putting off. Her boss was losing patience and ready to let her go. She was late on her rent and any time she started to focus on the website another advertiser or debt collector would break her concentration. From all the visual clutter and the attempts to find order in the chaos, it became clear the Marie has ADHD.

Ben knocked at Marie’s door and she was annoyed at the distraction. She ran down the litany of things he might be selling but he just wanted her signature on a marijuana legalization list. She liked the idea but insisted on signing later. Ben was fine with this, and just hung out in her apartment while she worked. Well, she didn’t work long. Soon enough they are playing video games and having a pillow fight in slow motion. Ben took joy in Marie’s exciting and creative cluttered life. They seemed perfect for one another, but Marie pointed out that she is a lesbian. Her partner, Sissy, called and stopped by adding another layer of distraction to the website design that Marie should be focused on.

The woman that Marie said was her partner turned out to be Marie’s sister who is getting married. Marie must have invented the lesbian relationship to be sure Ben never had any hope of a romantic relationship. There was friction between the sisters since Marie had let her sister down leading up to the most important day in her life. Ben chimed in and offered suggestions on how Marie might help her sister more and Marie became furious. She told Ben to straighten up his own life and get out. I felt bad since it seemed he was a kind person just trying to help, but she gave him a firm push out of her life.

In the end Marie did manage to complete the website design in a hilarious slow-motion sequence set to classical music and she lived happily ever after.

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

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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.