Red String at Fringe Art Space

Red String was a new musical written by presented at Fringe Art Space. This is a charming Romance where two 20 something woman travel Europe in the hope of finding love. Nessa has been having dreams about a man who could have been “the one'” When she discovers he is in Europe, she decides to follow in the hope of accidentally bumping into him. Her best friend Sami enjoyed the ride until the dreams became a bit to much of an obsession. Sami broke off to travel on her own while her friend pursued her fever dream.

Sami decided to wash away her problems at a bar and struck up a friendly conversation with the bartender. There was a natural chemistry between the two of them. Meanwhile Nessa did indeed meet the man she had come to find in Berlin. Unfortunately he had married a beautiful German woman, who decided to take Nessa in. In a late night conversation Nessa discovered that the chemistry was indeed still there.

The lyrics to the show kept the themes of love and friendship moving right along. There were always three doors on stage with red strings wrapped like spider webs across each portal. I took these doors to represent the past present and future. Nessa had woven such a tight web around one hope and dream and in so doing left part of herself behind.

The friendship between Sami and the bartender blossomed int a fast romance. Sami and Nessa’s friendship grew even stronger after the trails of travel. This show has so much potential. The musical orchestrations could still use refining but the story had heart. Writer Amanda Scheirer of Without Feat Theater, is bringing some amazing original productions to Orlando.

Find Me at Fringe Art Space


Find Me written by Amanda Scheirer has three more performances at Fringe Art Space. The rock musical spoke to me on so many levels. It opens with Ally, performed by Laura Swindoll waking up and straightening up her apartment in anticipation for the arrival of a guest. Autumn performed by Cat Cuteness arrives and she silently runs through the room looking at herself in the 8 different mirrors scattered throughout. In the talk back, Laura explained that Ally was constantly examining herself in the mirrors. She is someone who is always giving everything away to please others to the point where there is little left for herself, and she is deeply unhappy, distracting herself with activity.

Autumn who has autism on the other hand is a bright light who is unafraid to be herself. She never says a word through the entire play but her joy and sorrow are brilliant. She becomes frustrated when Ally can’t let go. The whole play is about these two very different woman finding a middle ground to become closer. When Autumn zones out and stares into space, Ally tries to get her attention through dance and humor. Only sitting and patiently waiting brought Autumn back.

Ally is incredibly organized, to the point of obsession. She organizes games, books and other items by a system where items that involve the eyes, like books are on a top shelf, things that involve the hands like games are on a middle shelf and things that involve feet, like a yoga mat are on a bottom shelf. Autumn prefers the joy of chaos.

Part of the reason I love this play so much is that I teach virtual drawing classes to children on the autism scale. The biggest challenge is always to find a way to engage the child and accept where they are on their artistic journey. At times I have had students who might start to rock and humm to themselves. I just keep sketching and talking to engage them until they are ready to try for themselves. I love that painting is one way Ally wants to engage with Autumn. The first attempt is an utter failure since Autumn just places the bottles of paint in a row. Ally wants to squeeze some color out but Autumn just pulls the bottles away and lines them in a row. I am thinking she was mocking Ally’s hyper organized self. Ally gets frustrated and puts all the paint away, angry at Autumn for not participating the way she wanted her to.

Much later in the play Autumn signs that she wants to paint. This time, the two women are gentle with each other and find joy in smearing paint on the tall canvas. Bright vibrant paintings start appearing over every mirror so that by the end of the play the otherwise dull neutral apartment is now filled with color. The stage manager, Lita LaRoux, did all the paintings that appear over all the mirrors. She explained that she listened to the music for the show the entire time she painted.

The play features music written by Dan Drnach. Party Farm is a jingle for a party store and Autumn plays it on TV relentlessly. She loves to dance to the jingle. I wanted to dance as well but held back. If there was a plant in the audience I bet the audience would rise and dance along.

I applaud Amanda Schreirer for this joyous and subtle show. I fell in love with these characters as they struggled to find each other. You never know the battles others are fighting.

I highly advise that you see this show. You will leave the theater deeply moved and reflecting on how delicate relationships can be.

Ophelia Pre-Show at Fringe Art Space

Mallory Sabetodos Vance founded Phoenix Tears Productions, a local acting troupe that experiments with interactive theater. I have been sketching their quirky shows for years. They are now staging Ophelia, an original musical about Hamlets amore.

It was pouring as Pam and I drove to the theater. We honestly thought we might be the only people willing to go out in such insane weather. We got to the theater an hour early to be able to see the pre-show in the lobby of the new Fringe Art Space. Sure enough we were the only people in the lobby.

Mallory came out and explained that the show would be starting late because of the weather. Apparently the drummer could not get off from work. With time to kill Pam and I looked around. The show has a well designed and illustrated poster. The poster artist also had her thick impasto floral paintings on display outside the bathrooms.

Originally I had not planned to sketch the pre-show but with an hour and a half to kill I decided there was plenty of time to get a sketch done of the lobby and ensuing frivolity.

The actresses began to trickle out and interact with the gathering crowd. Combine,  in a peach colored dress (Emily Sheetz) kept dusting all the surfaces in the room. She asked the couple next to us to get up so she could dust their seats. Thankfully she left me to sketch in peace. Violet, (Carson Holley), in a light purple dress came over. welcomed us and offered her hand which I delicately shook. In Hamlet’s day a gentleman would have stood and kissed her hand, but I was busy sketching.

There was an Ophelia backdrop where people could have their pictures taken. Violet was gleefully encouraging people to pose. In contrast, Rue (Lex Bently) lurked nearby all in black exuding her goth menace. Fennel (Ashley Vogt) in her bright pink stippers outfit and fabulous white leather boots with massive heels, made her way into the sketch.

The Spider Queen

Pam and I went to see The Spider Queen at the new Fringe Art Space near Church Street Station in Downtown Orlando. This is now known as the Ophelia theater. We had picked up some post cards that promote my COVID film in Winter Park and we decided we would have enough time to try out a small Polish restaurant on Aloma. There were several tables outside so that is where we sat.

Unfortunately after a business call in the parking lot and very slow service we had to get pack the food in take out boxes and eat on the way to the theater. Pam drove to the theater like we were in a Mission Impossible chase scene. My car battery had to be jumped earlier in the day, because it has sat idle for so long while I was animating on the film. I tried to get the car clock set since we were racing the clock to get to the theater. There were hours and minuted which I set correctly but then there was a third button with tow zeros. I needed to change AM to PM and hoped that button would do the job. No, that button reset the clock which undid the settings. I abandoned the clock.

Pam stopped in front of the theater and let me out to run inside. My job was to find out if she could get into the theater after she parked the car, which would involve her walking an extra 10 minutes. At the Fringe International Theater Festival it is impossible to get into a show after it has started. Thankfully those rules are relaxed in the Fringe Art Space.

The fellow at the front desk was more than helpful. He went out of his way to be sure Pam got in and could find where I was seated. The volunteer scanned Pam’s ticket and then noted where I sat which was in the back row house right. I didn’t want my iPad screen glow to be noticed by anyone else in the audience. Pam did arrive about 10 minutes after the show started. When she entered she almost bumped into an actor who was in front of the stage. The volunteer pointed out my spot and I turned my ipPad screen towards Pam so she could clearly see me in the dark.

The show was about the Spiderman Musical that was an epic failure on Broadway. The Spider Queen opened with Glen Berger, an apologetic, shy writer who worked with director Julie Taymor, of Lion King fame. The overpriced musical they collaborated on faced an endless string of setbacks. The producer died of a stroke. The show then faced financing setbacks and a series of technical glitches and ultimately horrific injuries on set. A 29 year old Spiderman stuntman fell 30 feet. The tether holding the stunt double broke and he fell more than 30 feet to the pit below. The stunt double sued for 6 million dollars and the show on a whole cost over 75 million dollars to produce.

That same month, an  actress suffered a concussion, while two other actors were injured during a flying sequence, one breaking his wrist. A stagehand fell went into cardiac arrest. He was transferred to St. Luke’s Hospital where he later died. The show was plagued. In The Spider Queen the horrific accident was shown using plush Spiderman dolls swung around with fishing poles and string. The low tech puppetry missed the mark.