Fringe: The Suitcase

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Ayni Performing Arts of Orlando Florida presented The Suitcase – La Maleta at the Orlando International Fringe Festival. This solo show starred Peruvian artist Gio Quezada who also wrote the show directed by Jorge Bazalar. The Suitcase was inspired by Quezada’s own journey immigrating to the America from Peru and explored themes of resilience, identity, and the immigrant experience.

With the current administration, immigrants all across America are being terrorized by ICE Agents who violently pull them from their jobs, courtroom and the streets and detain them in concentration camps. Living in constant fear makes the American dream a distant memory for all.

Gio gave a voice to all these people who are struggling to survive today. The character she portrayed was named Lucia, a graceful ballet dancer. The arts in America are also under attack so her idyllic profession makes surviving in America even harder. Before arriving at the festival, The Suitcase production was backed by a United Arts Individual Artist Grant, which makes me particularly happy.

Besides her own story, she related stories of Latin Americans from other countries who had uprooted their lives to come to America. The journeys are often insanely dangerous, but they all hope the American dream might still be alive.  This show was so important to see given the temperature of hatred and intolerance being spread in America today.

The stories told were true hero’s journeys. The souls brave enough to make the dangerous journey are also the souls who are brave enough to build a life here. Yet today there are so many stories of children being separated from parents and other atrocities that make it clear that we are living in inhumane times. The inhumanity helps distract from the presidential criminal actions that define the news every day.

After the performance I walked on stage to look at the suitcase which was open. It was filled with so many family photos from a family struggling to make a life here in America.

On the Statue of Liberty…

“Give me your tired, your poor,
Your huddled masses yearning to breathe free!”

Does this mean anything anymore when ICE agents are detaining people who are immigrants or citizens?

The “golden door” seems now to be a crude detention cage. I feel that The Suitcase was the most timely, important and brave play I saw at this year’s Fringe. Through personal stories it illuminated the dark heart of America today and the loneliness of trying to survive in a capitalist society. Even as a privileged white American, I identify with her story.

Fringe: Odyssea’s Family Tree

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Odyssea’s Family Tree produced by Project no.19 Performance Company, and sponsored by Dandelion Fitness, at the Orlando International Fringe Festival followed the journey of dancer Odyssea Siren through a series of pole dances. When the audience entered the theater all the dancers were lying in fetal positions on the stage. I started sketching immediately knowing I didn’t have much time to catch all the poses. Accuracy had to take a backstage seat to gesture. Lines of candles radiated from the center hub of the stage creating a romantic glow and spotlights illuminated quadrants of the stage as needed.

Each dancer then took turns performing on the 12 foot pole. I only tried to capture one dancer, and the challenge came from trying to capture the constant motion of dancers suspended, inverted and twirling around the pole. Between sets, the pole was vigorously wiped down.

Portraits were hung on clothing racks at the back of the stage. I didn’t know they were portraits until late in the show when the lighting allowed them to be seen. I believe the point was that the audience could see a dancer’s portrait after seeing how gracefully she moved and hearing her story.

The show, directed by Max Pinsky, featured contemporary dance and spoken-word pieces that showcased stories of generational trauma and survival. I didn’t really follow the story line; I just marveled at the athleticism of the pole dancers.

When in college, I went to 42nd street to do a series of sketches of strippers and pole dancers. Back then  42nd street was very gritty. This show elevates the pole dances to more of an art form but the uniforms of garter belts, thongs and high heals was very much the same. I would never get tired of sketching this much exposed anatomy in fluid motion. It was a thrilling show to sketch.

Fringe: Dreamwalker

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Cloud Feather Productions from Punta Gorda Florida presented Dreamwalker at the Orlando International Fringe Festival. Center stage was the largest Unity Drum in America. Most of the audience was invited on stage to beat bamboo xylophones and the huge Unity Drum. A small plush unicorn sat on a bar stool at center stage.

On the screen AI generated animations were used to tell a tale about anthropomorphic animals being warriors. I could not hear most of the narration from the animation shown because of the drumming. In general, there was a story about a Clan of the Unicorn. That story was impossible to decipher

I stopped trying to make sense of the proceedings and just went along with the flow of the mushroom fever dream. The show was written and directed by Joseph Breton on guitar, with Manuela Bass and Sarah Giustra offering back up on various instruments. So, was this a musical? Certainly not in the way Schmigadoon is a musical

Though billed for all ages, the show with its sappy AI generated animations seemed geared for grade school children who might not mind the artificially flavored imagery. The cast was warm and inviting but the choice of projected AI animation to tell the clan story missed the mark for a staged production. Heart felt narration as if told around a campfire might have better expressed the message which I think was about community, compassion, and unity though I really am not sure about the show’s intentions. When the cast was singing facing the largely empty audience bleachers, they would have their backs turned to the members of the audience on stage. The interactive aspect of the show was inspired but the staging felt fractured.

Had I chosen to bang away on a xylophone instead of sketching, I might have had a different impression of the show. My feelings about the cult like AI generated animation however were visceral. If such polished turds of animation are what we face in the future to tell stories, then humanity as a whole is in trouble, no matter how hard we try to drown it out by beating a drum.

Fringe: Four Dinners

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Four Dinners at the Orlando International Fringe Festival was a passionate play about two sisters, a roommate and an ex who lustfully explored their sexuality as queer women. The show was written and directed by Emmy Frederickson and Kelsey Grace Kidd.

The sexual relationships blossomed and unfolded so fast that I started to lose track of who was sleeping with who. When one relationship flickered out the ex-girlfriend of Penny (Liv Rawls) got pulled into the vortex of passion in the small apartment.

All of the passionate feelings had to be sorted out over the course of four dinners. Had this play been about men it would have been titled four dinners and a fist fight, but the woman managed to keep their impassioned conversations in check by passing around a small stuffed animal which was a sign that only the woman holding the plush could talk.

The action in the play pealed off as quickly as the clothing. When the sister of Penny, one of the roommates came over, she is seduced with surprising ease by Ynez (Marissa Rodriguez) the other roommate. I imagine the point of the play is that couples should be able to calmly discuss their feelings even when they are cheating or swapping partners. Throughout the chaos of the love triangle or quadrangle, Penny seemed to be the one person who kept a level head.

At heart all the characters were vulnerable and the quick leaps into sexual relationships may have been a hope to find some sense of belonging. Despite hurt feelings, the woman remained close. The small apartment was a tinderbox of emotions, but they managed to remain friends although rather dysfunctionaly.

Fringe: 50% Non-Verbal

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This Orlando International Fringe solo show by trombonist/dancer/actor C. Neil Parsons from Somerville, Massachusetts, was a variety act that was indeed not about long monologues. His trombone performances were on the abstract side treating the instrument as more of a folly device for making sound. The music was more of form of communication rather than a defined tune and the other form of communication was physical movement.

Neil did utilize speech and vocal play as well by describing the inner jumble of his thoughts at night.

I decided to try and sketch Neil doing his dance number. The stage felt so huge for the solo performer.

In one act, Neil played trombone while 3 volunteers walked around the stage looking at their iPhones. There was something very poetic in that musical number where the volunteers never looked up from their digital devices until the moment they came to rest.

This show was very avaunt guard and experimental. The acts were as varied as the thoughts in the performers’ mind. I was entertained and intrigued. I didn’t need to make sense of all that happened, I enjoyed it for what it was. What was it? You might ask. I am not always certain.

The show was well-received by reviewers and drew sold-out crowds.

Fringin & Flagons Presents: The Last Stand Tavern

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Michael Marinaccio and Tracy McCoy acted as the MCs setting each scene in The Last Stand Tavern which was staged at in Ten10 Brewing which was the perfect venue at the Orlando International Fringe Festival. Different guest performers are introduced at each show, adding to the chaos.

The show was built around a Roll Playing game, or TTRPG (Tabletop Role-Playing Game). I am not very familiar with roll playing games, so I had to take the show at it’s face value. I think that some of the audience reactions came from a familiarity with certain RPGs. Every scene was completely improvised often to hilarious effect.

Improv actors seated on the stage had to stand in for characters in an apocalyptic vision of the word where zombies are about to overrun a tavern. Players would roll a large die to determine the energy they might have to overcome each obstacle.

Though starting playful and light, the zombie hoards and dark lord are too much for any character to overcome. Each roll of the die resulted in an almost certain bloodbath. Perhaps that is just the way of the world. None of us will get out of this game alive. Heroes are the first to go.

The bottom line is that was a fun Fringe show with many unexpected turns and plenty of laughs.

Fringe: A Strange and Distant Manor

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This Gothic comedy Fringe show, titled A Strange and Distant Manor was a long-form improved story created along with prompts from the audience. At the show I attended, the prompts were, a cave, a Vespa and a fear of spiders.  It was a tale of family, secrets, and the supernatural. Once it was revealed that one family member, the strange uncle, was kept in a cage, that became a running gag.

A scene would play out and the other cast members, largely Sak Comedy Lab alumni, would stand in the wings watching and waiting for their moment to step into the scene. There were moments of complete comedic chaos and under it all the family dynamic played out. A prodigal son had returned and he wanted to introduce his family to his male partner. They seemed very accepting.

The caged uncle seemed to create the most drama and mayhem, but the family was clearly dysfunctional. Meeting the family of a partner is stressful enough but if they are completely insane then the task is all the more fraught with drama, laughs and spooky chills.

The story could take a dramatic turn at any moment when a cast member stepped in and introduced some unexpected twist. Watching improve is like watching tight rope walkers. I am always waiting for a slip and fall. But this cast was tightly knot and they kept each other afloat. No two shows were ever the same.

A Strange and Distant Manor by Travis Ray won the Critics’ Choice Award for Outstanding Improv Show at the 2026 Orlando International Fringe Festival. I am glad I had a chance to witness the chaos firsthand.

Fringe: Far To Heavy

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Far To Heavy was a one woman show by Melanie Bailey at this year’s Orlando International Fringe Festival. Melanie began the show with plenty of laugh out loud moments. Gradually she weaved in resurfacing memories that she has learned to live with. Those memories might surface at the most unexpected times.

This was Melanie’s first one woman. The show was genuine and offered the harsh realities of trauma mixed with lighthearted laughter. Everyday memories can become overwhelming if you can’t learn to laugh at them.

On stage were moving boxes with one labeled “Grief” in sharpie. I was getting prepared to move all my studio possessions out of storage into an apartment in downtown Orlando, so I was very familiar with a life boxed up on hold. My traumas may very well be in the remaining 3 boxes that I have yet to unpack. So many of the boxes I had to move were far to heavy. I tried to push one box and instead of it moving, my feet kept slipped on the floor boards. It wasn’t until I wedged my foot against a wall that the box reluctantly was forced forward.

On top of three boxes on stage was a bingo spinning barrel. Melanie played Trauma Lottery with the audience, and the goal was to show that the hidden pain we all have, may be what connects us all the most. For a show covering such serious topics, it didn’t ever feel overwhelming. Melanie had a great knack of mixing the trauma we all share with humor and reminding us that sharing such moments helps connect us all.

Melanie is a five-time Orlando Fringe award winner, so she has experience knowing what will resonate with an audience. We are never meant to carry all our pain in life alone. Being able to share and be honest about our experiences helps us heal. By sharing her trauma, Melanie may have helped the audience someday face their own traumas which were swept away into the recesses of their mind. The show cannot resolve the issues we all face, since we are all so unique, but by sharing her experiences, she helped us realize that we are not alone in our pain. By leaving us laughing, she offered the best medicine that there is.

Fringe Local Teaser Show

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The Orlando International Fringe Festival is celebrating 35 years of being weird. In April, before the Festival got fired up, there was a local teaser show so people could get a taste of what to see at the upcoming Fringe. Each show only had 3 minutes to pique the interest of the audience. This lightning-round format allowed dozens of performers and artists to give the audience a rapid-fire, bite-sized preview of their full-length shows before the festival began.

If a performer ran over 3 minutes, the lights would flash red and Brandon Roberts, dressed as a Revolutionary soldier would come out and chase the performer off stage. I found myself hoping each performer would run overtime to see how Brandon would chase them off stage. These were some of the funniest moments of the night.

At Fringe, some shows can be absolutely amazing by breaking boundaries and making you think, while others could very well be duds. A seasoned Fringe fanatic will use this teaser show as a way to separate the wheat from the chafe. With only 3 minutes for each teaser, I was hard pressed to decide which show to feature in my sketch. I decided to focus on an announcer and one burlesque dancer.

The Peach venue in Orlando Family Theater had an aquatic themed backdrop which was from the children’s play, Finding Nemo. I rather liked seeing all the acts as if performed underwater. As a creative, I sometimes need to remind myself to just keep swimming.

I went on to see and sketch many of these shows that lured me in with their 3-minute elevator pitches. The National/International Teaser Show typically takes place on the Tuesday evening of the festival’s opening week. If you attend both teaser shows then you will have a solid idea of what shows absolutely need to be seen. The teaser program comes with a score card so you can rank the shows as you see each teaser. I didn’t fill in my score card because I was so busy scribbling.

To see which shows I sketched and adored, just keep checking here.

Fringe: ://Shelf_Life

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://Shelf_Life was written and performed by Zachary Scalzo at this year’s Orlando International Fringe Festival.

Luc was called in for a meeting with Human Resources. He sat stiffly in the office chair as he was asked to read the charges against him. He was a brilliant Information Technology researcher at a firm that worked on Artificial Intelligence (AI). He had taken his research too far, by bringing his beloved Aunt back from the dead by uploading her diaries into an experimental AI system. His aunt had fully understood him when she took care of him when he was younger. He was different than the other boys which she understood since she had a female roommate who she was inseparable from.

A hologram of his Aunt was represented by a large house plant. She spoke in his Aunts voice and she interacted with Luc just as she had done in the past. Grief melted away as he was able to feel the affection he had for her once again. She seemed to know things about him that went beyond her programing. The AI Aunt expressed emotions and remembered every interaction they had once had together.

Finding affection and understanding from an AI companion is a parable that appeared in several Fringe shows this year. The future is here now. I sketched a court case in which a mom was suing Google and several AI companies after her son fell in love with a chat bot with the voice of Daenerys Targaryen. Though always programed to please, an AI bot cannot know the depths of human grief and pain.

When the son proclaimed his love for Daenarys he said, “What if I told you I could come home right now?”

Daenerys Targaryen: … please do, my sweet king,”

He picked up his fathers .45 caliber handgun and shot himself.

Google and the AI company had 8 lawyers working on the case while the mom had her single lawyer and assistant. This will be a David versus Goliath legal battle to prove that AI lacks checks and balances.

The title of the show, ://Shelf_Life, implies that we all have a shelf life, and we are not meant to live forever. Thinking that we need to bring loved ones back from the grave when we miss them, doesn’t mean that it is a good idea to do so. The reason so many authors create convincing works of fiction comes from the hole left when loved ones pass.  If AI does replicate loved ones, then we will all become less creative and less human. It is a dangerous future.