About Minnesota Fringe

There is one big thing that makes Fringe different from any other event in town: All the shows you'll see at Fringe were selected randomly by lottery.

Yep. That's right. Each year the lineup is crafted by placing numbered ping-pong balls into a bingo cage and drawing them out, one by one. From stage veterans to people who are brand new to theater, Minnesota Fringe is a forum for anyone with a story to tell. We also provide the necessary support to make producing a show as easy as possible, regardless of where you land on the artistic spectrum.

Anyone (yes, anyone) can apply to have a show in the festival. If you'd like to have a show in our next festival, applications will go live in November here on our website. Sign up for our newsletter to receive a reminder as well as information about other theater events happening around town.

The mission of the Minnesota Fringe is to promote creative freedom and diversity of artistic expression by linking adventurous artists with adventurous audiences. Thank you for joining in this adventure!

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Showtimes

Shows start and end on time at Fringe. With 850 performances of 167 shows in just 11 days, we have to run a tight schedule to avoid descending into chaos. Performances are no more than 60 minutes long with a half hour between each show.

On weekdays shows begin at 5:30pm, 7pm, 8:30pm and 10pm. On weekends there are additional shows at 1pm, 2:30pm and 4pm.

Late seating: There is NO LATE SEATING at Minnesota Fringe. In addition to keeping our schedule, late seating is a safety issue for artists and audiences.

Safety for artists: Some of our theaters require that patrons walk across parts of the stage to reach the seating area, and many of our production companies’ stage work encompasses entrances and exits from the house.

Safety for audiences: Entering a darkened theater, possibly for the first time, and trying to find open seats puts patrons and volunteers at unnecessary risk.

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Fringe Central

Fringe Central, sponsored by Surly Brewing and hosted by Grumpy's Bar & Grill - Downtown, serves as the late-night watering hole for artists, staff, volunteers and audience members alike. Come in after a day full of shows to grab a beer and some bar food. Talk about what you loved and what you didn’t. Meet the artists behind the scenes and actors on the stage. Find out what you should see tomorrow or dream up your own idea for next year. You never know what will happen during Fringe, but dropping by Fringe Central gives you a serious head start.

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What to Wear

Shorts and a t-shirt. Seriously. Also, a pair of comfy shoes will serve you well in case you have to wait in line. Pro tip: Most Fringe shows take place indoors in air-conditioned venues, so having a layer to throw on in case you get chilly is also advisable.

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Choosing a Show

With 850 performances of 167 shows, it's scandalous to see just one. But how to choose the perfect lineup?

Search by genre: You can filter for genres when trying to decide what to see.

Talk to people: It only sounds scary. Just look for the folks in lanyards. Lanyards are worn by Fringe artists and there are at least a thousand of them dying to tell you about their show.

Read and write reviews: See what audiences are raving about on our audience review page, then return the favor and let others know what you thought.

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Get Involved

Fringe isn't just a festival - it's a community, and it couldn't exist without people like you.

Create: Applications for the 2018 festival will go live mid-November on this website. Fringe is open to everyone, all shows are selected by lottery, and you don't even need to have a show ready when you apply.

Attend: Thanks to the new day pass system, attending Fringe is easier and cheaper than ever.

Volunteer: Our 400+ volunteers are near and dear to our hearts and make our festival go, so we shower them with lots of love and complimentary seats! Sign up for a shift now!

Socialize: Join us any night of the festival at our official hangout, Fringe Central sponsored by Surly Brewing and hosted by Grumpy's Bar & Grill - Downtown, for a beer, a burger and maybe even some late-night shenanigans.

Support: Help us create Minnesota's Summer Theater Crawl by donating to or sponsoring our annual festival. Gifts of any size make a large contribution to our ability to meet our mission.

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Box Office Info

Pass + Token = Your Admission

Everyone needs a valid pass to see a show. In addition to your pass, you will receive a token at the venue which guarantees you a seat. Turn in your token to the usher when you enter the theater.

More information about passes and policies here.

Reservations

Optional reservations guarantee a seat for a particular performance and can be purchased online in advance. You must also have a valid to get in. Day passes can be bought online with a reservation to save time, and can be picked up at the venue box office 30 minutes before the performance.

More information about reservations here.

Rules

For everyone's safety, Fringe does not allow late seating or re-admission. Photos and video are prohibited without written permission from the production staff. Fringe cannot provide refunds or exchanges.

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 Drama 

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The Last Bombardment

By Oncoming Productions
Created by Oncoming Productions, fr. the short story by Kenneth Schneyer

Playing at Ritz Theater Mainstage

Nobody noticed the first bombardment, not when it happened. One morning we woke up as usual, and there were babies on our doorsteps. We chose to take them in. Then the choices got much, much harder. (Horror)

The creators say this show is appropriate for ages Grown-ups only (18+)

 

Thu, 8/3 @ 7:00pm
 

 

Sat, 8/5 @ 5:30pm
 

 

Thu, 8/10 @ 5:30pm
 

 

Sat, 8/12 @ 10:00pm
 

 

Sun, 8/13 @ 4:00pm
 

* Reservations not required, but a Day Pass is. Find out more below.

Ticket Options

Day Passes are $16 on weekdays; $22 on weekends. Day Passes serve as entry to any show in the festival on a given day. Optional reservations to guarantee a seat for a particular performance are available by clicking the "reserve" button above. Day Passes can be purchased in advance with a reservation or at any venue box office during the festival.

Weekdays 1pm-3pm and Weekends 11am-1pm we'll also open an Alternative Box Office at Fringe Central so you can grab a Day Pass and skip the lines at the venue before the show.

Day Passes for kids 12 and under are available at any box office during the festival just $5 every day.

A 2017 Fringe button isn't required for entry, but it does get you access! Wearing it not only identifies you as a part of a fabulous Fringe community, it also entitles you to special deals at local bars and restaurants and access to reduced ticket prices at various theaters throughout the year. Get your 2017 Fringe button for only $4 at any Fringe preview event or Fringe venue during the festival.

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Read the reviews

Toddlers ARE terrifying germ-mongers

by Fringivitis Vulgaris on August 14, 2017
This user has reviewed 8 shows

What a wonderful horror tale! The premise delights me, the execution was entertaining, and the ending made logical sense. (You might want to keep your crumb-snatchers away from me.) Very talky show, but the physical acting was spot on. This could be remounted for Horror Fest. I'll keep an eye out for whatever these folks create next.

1 person found this review helpful


SciFi/Horror Done Well

by Sara Robinson-Coolidge on August 14, 2017
This user has reviewed 49 shows

I enjoyed this a lot - great concept, well acted. The script works well in one hour but could still be tightened up towards the beginning, where it felt a little slow. Overall, great show!


Quiet horror

by Paige Lefferts on August 13, 2017
This user has reviewed 1 show

Not the horror I expected coming in. First half was actually pretty funny, but wow it got dark. Great performances, and visually beautiful.


Didn't Scare Me

by Bradley Johnson on August 13, 2017
This user has reviewed 56 shows

Interesting idea, but poor execution. Didn't really seem like a horror story to me.


Silly and Scary

by Philip Skretvedt on August 13, 2017
This user has reviewed 4 shows

Story was unique and creepy as all get out. I really enjoyed the visuals. The music was a great fit for the show. I got a kick out of the phone scenes and the humor mixed in. Worth a change of pace in your Fringe day.

1 person found this review helpful


Creepy and cool

by Alex Yang on August 13, 2017
This user has reviewed 6 shows

Very eerie and solid production from start to finish. The story elegantly makes the audience feel uneasy without resorting to jump scenes or explicit gore. I would say the middle section of the play starts to somewhat drag as the staging shifts from fast-paced montages to straight dialogue - could do with shortening these scenes, focusing on fewer characters/relationships, or increasing the conflict. The performers do a fine job balancing multiple characters (effectively aided by subtle costume accents) and the physical theatre/pantomime is a great addition that I'd love to see more interwoven throughout. Overall, a strong show that poses the dilemma of what measures we're willing to take to ensure our own survival.


Went for it!

by Larry Ripp on August 13, 2017
This user has reviewed 14 shows

What I loved about this show was they set up a premise and fearlessly took it to it's logical conclusion. Also a VERY strong ensemble cast. Big cast and no weak links. I was frankly surprised at how well directed this presentation was! Like a well oiled touring Company. It was that good. Here is material it took real guts to present. Stand proud everybody. In my opinion one of the very BEST of the fringe!

2 people found this review helpful


Yowza - spooky stuff!

by Vicki Joan Keck on August 13, 2017
This user has reviewed 17 shows

This felt like watching a Twilight Zone episode. Love the black & white costume choices and the eerie atmosphere. This was well acted and well staged but at times hard to hear, especially the narrator, whose soft voice did not carry as well as the others. Still, I got the message, and it gave me chills! Good Job!


Tough to Like

by Jack Bauer on August 13, 2017
This user has reviewed 4 shows

An interesting concept, this show suffered from staging and storytelling choices that showed the bones of the direction/adaptation-- endless montages that barely move the plot, pantomime passages that grow less interesting the more they appear, and too many characters played too unmemorably. While the acting really was solid, it was hard to root for characters that often didn't return.

While there was a narrator, the majority of the story is told through each character's intereactions with the antagonist. Because there were many locales, it was tough to suspend disbelief so often when characters and locations were in such (unrewarding and unmemorable) flux. Needs a hero, needs a story, needs to elevate the intruiging metaphor of the story.


A Good First Draft/Performance

by Edwin Strout on August 12, 2017
This user has reviewed 24 shows

This is a hit-and-miss show. The pantomime of village life is very effective in its repetition. The characters are distinct from the actors who have to play many multiple roles. The show needs more of a build. The set-up for the first third of the show starts to slow towards the end of the first act. What is needed, in my humble opinion, is more of a ratcheting up of the stakes. As well as a distinction between different characters reactions to what is happening in this small town. One never sees the build to the eventual horrific decision of the characters. But there are plenty of horrific moments, especially in the second act of the show. Keep working on this potentially horrifying show, this could be great.

1 person found this review helpful


Haunting

by Andy Rakerd on August 11, 2017
This user has reviewed 16 shows

I love horror, and it's in short supply at the Fringe. This show does it well, and was delightfully disturbing. It's an ambitious project with a large cast playing multiple parts in this small town, and the performance was pretty seamless. I did think some scenes could have been cut or reduced in favor of focusing on some of the more principal characters. (In particular, there was a telephone montage sequence that went longer than necessary.) The good stuff was REALLY good though. Go see this!


Good but confusing

by Margot Lourde on August 11, 2017
This user has reviewed 3 shows

I'm still wondering whether this show was a metaphor about the "inherent regrets of abortion" or if I took it out of context. Either way, it was very entertaining, the acting was great, the set was very charming, and the story was overall intriguing. It did feel a little repetitive toward the middle and there were a lot of questions left unanswered, but overall it was worth seeing and I enjoyed it a lot.


Creepy and well done

by Edd Jones on August 11, 2017
This user has reviewed 3 shows

Great show that takes a hard right into making you question morality. Costume switching to create the image of a large cast was really cool and the lighting was suuuuuper on point. Definitely check this one out.


Amazing Ideas

by Sunny Sorenson on August 10, 2017
This user has reviewed 13 shows

The show's concept is fascinating and unique - which is the hardest part at times. However, I felt the two biggest places for improvement are the transitions and the overall pacing of the action.

But the ensemble really created a brilliant allegory/fable/story/myth...err..whatever word you want to use. Kudos all around!


Wanted More

by Danielle Larson on August 10, 2017
This user has reviewed 8 shows

I really wanted more from this. The concept was intriguing, the simplistic set design and costuming was beautiful, but the story fell flat. The narrator was the character that I ended up connecting with and caring about the most. Her delivery and presence was beautiful. I would love to see this more fleshed out, but understanding Fringe I think it was a good first go.


Fun but dark show

by Colin Hughes on August 8, 2017
This user has reviewed 3 shows

Each actor player many characters but they were easily distinguishable. The costume design was spot on. The show had a dark underlying theme but sprinkled in some comedy along the way. I'd recommend seeing this show!

2 people found this review helpful


Some hits, some misses

by Chorf Mender on August 7, 2017
This user has reviewed 10 shows

My major issue was the script, which was stuffy and didn't feel genuine. The most genuine scene in the show was played beautifully by the narrator (as the journalist) and her husband (the sheriff) in his office as she brought him "lunch" to try to get the scoop on a story. Beautifully done.

Other than those two, it felt that every cast member had a character they excelled at and one they weren't so great at.

The story was interesting and picked up well at the end, but could do with shortening the telephone scene significantly.


Riveting

by Deb Nielsen on August 7, 2017
This user has reviewed 1 show

A riveting, fast-moving performance with a talented cast, minimalist set, and mind-blowing premise which makes you question your own ability to defend instinctual compassion for strangers for the sake of survival and defense of those closest to you.

2 people found this review helpful


almost there

by monte vognsen on August 7, 2017
This user has reviewed 11 shows

It was almost there. The acting was almost there. The script was almost there. What was an interesting premise to explore kept eroding as the piece moved on. It took the easy/"shocking"/boring road.


Scary

by Shelagh Linklater on August 7, 2017
This user has reviewed 5 shows

Well acted and directed. Musical accompaniment adds to the drama. A must see!

2 people found this review helpful


Chilling.

by David Gutsche on August 6, 2017
This user has reviewed 4 shows

This chunk of ensemble horror pokes and prods at our fear of the unknown, releasing swaddled terrors upon a diverse small town of archetypes. With an iconic set, a live score, an amazing cast, and great visual direction, The Last Bombardment succeeds at creating chaos, laughter, intensity, and dread.

See it, friend.

2 people found this review helpful


Creepy, Beautiful

by Brad Hauser on August 6, 2017
This user has reviewed 1 show

Extremely stylized horror. Dance elements and comedic moments enhance the general creepyness. Whimsical score.

2 people found this review helpful


The Last Bombardment

by Jon Golden on August 6, 2017
This user has reviewed 16 shows

Walking into the theater for this was a really cool experience just from the minimalist backdrop. I'm not gonna ruin that because it is super cool. The story itself though was too long and repetitive, watching 6 people talk on the phone as like 20 different characters for 10 mins is not very exciting or interesting to watch. The story takes a while to actually get going but the staging and lighting are great once it does. The acting is a little here and there, each person seems to excel at one of their multiple characters but the others aren't as great. With so many characters I found myself not really connecting or caring about any that much.

1 person found this review helpful


Tight horror, some quibbles

by Anne Christians on August 6, 2017
This user has reviewed 6 shows

The cast and director did an excellent job of world-building and making us feel like there really were thousands of people in the town. That said, the individual performances were a bit uneven and occasionally the pacing dragged.
The show could have benefited from a few more technical cues to break up scenes and expand on some moments while minimizing others.
I would recommend this show if you are interested in the horror of the human condition and cool effects regarding balloons.

1 person found this review helpful


Awsome Screenplay

by hawk eye on August 6, 2017
This user has reviewed 7 shows

Different attempt...
Loved the screenplay - Difficult to attempt such a screenplay and actors did their job perfectly.


Creepy crawling

by Suzi Love on August 6, 2017
This user has reviewed 7 shows

The staging, lighting, and performances in this one worked so well together. I was squirming in my seat. The story got under my skin....as someone who works in infant care as my day job, this was incredibly unsettling. In a good way. This thriller really delivers.

2 people found this review helpful


Nailed it!

by Connie Roni on August 6, 2017
This user has reviewed 8 shows

Loved everything about this show!

2 people found this review helpful


The horror they promised is there...

by Jeff Hoffmann on August 6, 2017
This user has reviewed 6 shows

It took a bit to get to the horror but the wait was worth it. As others have said it has a very twilight zone vibe when the horror is revealed. Well done overall, well worth your time.

1 person found this review helpful


Creepy in the Best Way

by Mary Johnston on August 5, 2017
This user has reviewed 11 shows

This could be in the horror festival! I just hope to GOD that it stays a work of fiction. Very good show! Slow at times (seems not all lines were at 100% leading to some unnecessary pauses), but great physicality (no set, no problem). I would recommend it.

1 person found this review helpful


Spooky scary

by Annie Scott Riley on August 5, 2017
This user has reviewed 4 shows

This production does a marvelous job of creating and maintaining suspense. What a terrifying idea. Well done, all!

2 people found this review helpful


Engaging and committed storytelling

by Siri Hammond on August 5, 2017
This user has reviewed 6 shows

I highly recommend this show! While the exposition went on a little long and the longed-for emotional heightening didn't happen until the latter third of the play, I was completely drawn in by the storytelling and physical movement used to create the characters and this world. The entire ensemble was truly committed and created effective, distinctive characters. Standout performances by Thalia Kostman, Emily Dussault, and Victoria Pyan, but the entire ensemble was strong. There was beautiful integration of music provided by Erik Ostrom and one effective through-line theme created by the actors' singing (lovely, unique voices too!)

1 person found this review helpful


GO.SEE.THIS.SHOW.

by Sofia Lindgren Galloway on August 5, 2017
This user has reviewed 9 shows

Terrifying story well told by a strong cast with a killer scenic design. Takes a few minutes to get going... but once it does...

Sci-fi horror at its finest!

1 person found this review helpful


Electrifying and somewhat chilling

by Richard Heise on August 5, 2017
This user has reviewed 25 shows

Beautifully done even though it has a rather horrifying ending. The lack of any props was nicely overcome by the performers. If you like drama or horror put it on your list to see.

2 people found this review helpful


Cloudy With a Chance of Toddlers

by Roy McEnroe on August 5, 2017
This user has reviewed 7 shows

The Last Bombardment benefits from an exceptional cast telling an intriguing story. Combining elements of The Twilight Zone and the NoSleep podcast, it creates a chilling and at times quite funny story about a town struggling to come to terms with madness surrounding them. The political commentary is present but not heavy handed or preachy, making for effective storytelling and raw emotion at times. The entire cast does a wonderful job and the direction is spot on, although the musical accompaniment was very underutilized.

2 people found this review helpful


Gore-less horror

by Nadra Wass on August 5, 2017
This user has reviewed 9 shows

Interesting, fringe-y concept, well executed. Bring plenty of suspension of disbelief to get over a few plot bumps and enjoy the creepy ride!

2 people found this review helpful


in the Twilight Zone

by Eric Nelson on August 5, 2017
This user has reviewed 4 shows

It's been a couple of days since I saw this show, and I keep thinking about it. A haunting story, original, and well told. I liked the slow reveal of what all is going on, and the actors evoke a surprising range of dynamics among the townspeople who whirl through the story (though I did at times get confused as to who was who). Well worth including on your Fringe list.

1 person found this review helpful


Review of "The Last Bombardment"

by Susan Roberts on August 4, 2017
This user has reviewed 5 shows

The lights go down in the theater and you feel a ripple of quiet anticipation for the show to begin. In complete darkness, you first hear the quiet strains of a haunting lullaby sung so sweetly it breaks open your heart and leaves a hint of doom. What premonition of evil comes lurking so stealthily in the night?

We may think our lives are ordinary or even boring, but when set against the backdrop of civil unrest and the love a child, we are confronted by our hidden strengths and weaknesses. We may think of our lives as being colorless but there are bursts of color hovering above us – waiting to be discovered.

War is messy. We may try to avoid it. We may try to seek other avenues of peace and love. We may try to be heard above the rat-a-tat-tat of distant gunfire. Some people are more successful than others in assimilating to war that is raging in their backyards. The lust for life takes many forms; often surprising the person with its intensity and revelation.

This play sets a grueling pace and tone after the opening chords of the lullaby fade away. There are many characters in this play (but not that many actors as I soon discovered because each actor takes on multiple roles seamlessly) whose stories weave in and out of the play. Characters are introduced in two ways – through their ordinary life and the reaction to the introduction of an unlikely antagonist.

The entire stage is used to perfection with gorgeous music and a stark backdrop punctuated with color to introduce the characters. There are no props used in this play, but instead the actors mime objects interacting with on stage. The flow of the play is effortless and intricate.

(A caveat – I am familiar with many of the actors, through improve, in this play. I was looking forward to seeing these actors in a scripted play.)

I watched, with interest, those actors. I wasn’t disappointed. Becky Wilkinson Hauser linked the cast together through her multiple roles as a third person commentator, one of the singers of the lullaby and the heartbreaking condition that leads to her doggedly protecting her husband and town. Justin Betancourt portrayed a leader, an everyman and a secret life perfectly. He stayed true to his characters throughout the play. Jay Kistler had the unenviable position to be a conduit that connected all the stories together without having first-hand knowledge of the sorrow that befalls many of the characters. Erik Nielsen brought out the sensitive side to the personality of one of his characters. He found love in an unexpected place. He played hero.

The mega-talented Erik Ostrom added misty mystery with haunting music. Thank you!

I was impressed by the cohesiveness of the costuming choices made by Meghan Wolff. One character did not overpower any other character and yet the light hand of color choices were powerful (a uniform style, but not). While no year was given, the costuming gave little hints that the play could have been any time from 1939 to present day.

Overall, I feel that Sean Dillon and cast wrote a beautiful play based on a short story by Kenneth Schneyer (which I have not read). The play was set in wartime, but it could have been set with any backdrop because to me the play revealed the constant humanity and hope in times of trouble.

I would comment on other actors in the play, but I do not know them by name. I can say I enjoyed each performance of each actor.

Bravo! I recommend seeing this play during the Fringe run.

2 people found this review helpful


A Creeping Horror

by Adam Boutz on August 4, 2017
This user has reviewed 56 shows

True horror, in my opinion, isn't in facing something terrible or scary. It's in realizing that the truth is far worse than anything you could have dreamt; that you previously lacked the capacity to imagine worse. That the characters onstage could fail to imagine what they would have to do. I'm worried about the author just a bit; it takes f**ked up mind to say "Let's take basic human decency and turn it into a deadly weakness!" This play is chilling, sharply executed, and leave you ever-so-slightly uneasy for hours afterward.

3 people found this review helpful


Psychological... and I dig it.

by Joe McGowan on August 4, 2017
This user has reviewed 2 shows

This play have a bunch of things going for it! 1) The acting. With the minimalist set the actors had to be power houses and that they were. They created a world I felt connected to. Strong performances all around! 2) The score. The music was created live on stage and it allowed the piece to feel connected and accented when appropriate. If they are selling a soundtrack sign me up! 3) The movement. They were able to use movement to help create dramatic goosebumps accompanied by shivers down my spin. I found myself bitting my nails a few times.

With that said the start was a bit slow for me but the pay off was worth it.

Over all I dig it! I would recommend it please make it a stop while you are in the Northeast area.

4 people found this review helpful


'9'9 Red Balloon

by Nick Wolf on August 4, 2017
This user has reviewed 4 shows

A creepy show with a disturbing moral quandary. The ensemble brings a strong story to stage in true fringe fashion with minimalist set and props and a truly eerie score performed by Erik Ostrom. A great way to start my 2017 Fringe.

4 people found this review helpful


Not just for horror fans

by Corrie Fiedler on August 3, 2017
This user has reviewed 43 shows

Very classy adaptation of a recent SciFi short story. The acting was superlative, with each actor playing many roles. Though a few balloons were the only props, the actors believably took us into a small town during wartime. I'm neither a SciFi nor a horror fan, but enjoyed absolutely every minute and am still thinking about the them. Topic = 5, production value = 5, personal interest = 5. A GREAT WAY to spend an hour.

4 people found this review helpful


Twilight Zone, Baby Edition!

by Michael Larson on August 3, 2017
This user has reviewed 1 show

The cast and crew have assembled a surreal suburban nightmare that is by turns tragic and comedic. The simple absurdist premise is given heft by the versatile actors (each of whom fleshes out multiple characters), inventive lighting and stage effects, and appropriately moody musical accompaniment. Good show.

3 people found this review helpful


Slow Burn

by Phillip Schramm on August 3, 2017
This user has reviewed 6 shows

Outside of the beginning sequences being a little too long (it drags a bit pacing-wise) The story picks up in the middle and everything falls into place. The physical theater is wonderful throughout (kudos to all the actors) and the music is superb. Highly recommend.

4 people found this review helpful


Creative and thought-provoking!

by Kara Garbe on August 3, 2017
This user has reviewed 7 shows

In the 2 hours since I walked out of the show, I've continued to think about it and have liked it more and more. It poses an interesting philosophical question that is creative and thought-provoking. The cast is really talented at bringing to life multiple characters and using mime and gestures to bring the world to life. Check it out!

5 people found this review helpful


Mostly great

by Sally Foster on August 3, 2017
This user has reviewed 2 shows

There was some very cool and fun to watch physical play and staging in this show - bravo to the choreographer. I loved that this show was a different and unusual breed of horror, though the writing felt stiff at times.

It did have some timeline confusion for me (in one scene the daughter proclaimed they'd "only had the baby for a week") then in the next scene all signs pointed to it *still being* the *day* of the babies' arrival. The music was great, but the pianist being lit on stage the whole show was a distraction when much of the show was silent. I was hoping for an ending that ties things together more tightly (or a big reveal).

Overall great show with some fuzzy moments for me. A+ for Becky Hauser and Rob Ward.

Worth seeing!

5 people found this review helpful


Cast and crew

Justin Betancourt

Performer

Justin is a Minneapolis transplant originally from Ohio. Justin has been acting his whole life and has a degree in theater from Bowling Green State University. This is Justin's third year in the Fringe and is excited to be a part of this show. You can also see Justin perform improv with Comedysportz and Jesters Comedy Improv.


Mallory Dillon

Set and Prop Design

Mallory Dillon studied architecture at North Dakota State University where she also had her first set design opportunity with Little Country Theatre’s Proof. Other work as a designer includes: The Heidi Chronicles, The Grand Tarot, To Gillian on Her 37th Birthday (Stella Adler Studio of Acting), Sympathetic Magic (Ailanthus Theatre Company), and The Nina Variations (Mutiny Productions). Mallory is excited to be part of Minnesota Fringe again after designing the set for Promiscuous Fiction in 2013.


Sean Dillon

Director

Sean Dillon is a native of Fargo who came to Minneapolis by way of New York, where he studied at NYU and the Stella Adler Studio. Both here and there, he has performed and directed with a variety of companies. Locally, he has performed with the History Theater, Actors Theater of Minnesota, the Minnesota Science Museum, Savage Umbrella, and the Playwrights Center. The Last Bombardment is his third time writing/directing with Oncoming Productions here in Minnesota, following 2015's The Deep Dark and 2013's Promiscuous Fiction. He also teaches and performs long-form improvisation, primarily at HUGE Theater.


Emily Dussault

Performer

Emily Dussault is a local actor and singer. She has appeared onstage with many Twin Cities theatre companies, including Savage Umbrella, Transatlantic Love Affair, Artistry, Theatre Pro Rata, and Workhaus Collective. In addition to performing live, Emily is a co-host of the podcast Hypotheticast. She is a huge fan of the horror genre, and is thrilled to be making her first foray into horror theatre with this piece.


Becky Hauser

Performer

Becky Wilkinson Hauser is originally from Minnesota and landed happily back in Minneapolis after studying at Lawrence University in Appleton, Wisconsin and living in Chicago, Illinois. While in Chicago she discovered long-form improv and trained at The Second City and iO. She is known locally as a member of the three-human improv and sketch comedy trio, Ladyfriend. She also can be seen at HUGE Theater in groups such as Attenborough, The Truth and Nimblicity. The Last Bombardment is her first project with Oncoming Productions and second in the Minnesota Fringe Festival.


Bryce Kalal

Stage Manager/Sound Design

Bryce Kalal is returning to Oncoming Productions as Sound Designer and Stage Manager for the second time, following 2015's The Deep Dark. With a degree in audio production, a career in commercial videography, a lifelong passion for making music, a novel trilogy on the way, and more drawings than he can count, his devotion to the arts is unending. Currently, you can see him on the stage in Ka-Baam!! The Improvised Comic Book (Saturdays in July & August at Huge Theater), and you can hear his original music at www.midnightnotion.com.


Jay Kistler

Performer

Jay Kistler was born and raised in South Carolina. He got his BA at Winthrop University in theatre and decided that's as far as his education would go. He moved to MN to go pro in banking. He primarily works with Dangerous Productions, whose show SKIN will be at this year's Twin Cities Horror Festival. He's also a writer for MN Tonight and a freelance improviser. Ask him to join your team. Hey, you should also see his friends in Sheep Theater do Pinocchio at Mixed Blood. Hooray!


Thalia Kostman

Performer

Thalia Bea Kostman grew up in Paris and returned there to study mime and corporeal theatre. She loves all clowning, puppetry, and other weird forms of performance. In the Twin Cities she has performed with companies like Mixed Blood Theater, Red Eye, Theatre in the Round, and Mad Munchkin Productions. She has produced two shows in the MN Fringe: Cecilies '12, and Strangetalk '13, and is pumped to be Fringing again in The Last Bombardment.


Erik Nielsen

Performer

This is Erik Nielsen’s second show with Oncoming Productions, following The Deep Dark at the 2015 Twin Cities Horror Fest, and his second show at Fringe after Emily Schmidt Productions 2014 Sole Mates—An Almost Romantic Comedy. He regularly performs Long-form improv comedy at Huge Theater, though is more than a little excited to trade laughs for scares this Summer at Fringe.


Erik Ostrom

Live Musician

Erik Ostrom is frequently surprised to find he is a musician, composer, improviser and tech. Current and upcoming projects include The Local Music Scene, Late Nights Minneapolis, Interludes (this fall at HUGE Theater), and his band, The Telltale Signs. This is his first Fringe show! How exciting!


Victoria Pyan

Performer

Victoria Pyan is a native Minnesotan. Locally she's performed with Frank Theatre, Freshwater Theatre, Theatre Pro Rata, Theatre Cosmic, Delve Theatre, Mission Theatre Co, Theatre Unbound, Pioneer Place, and Maximum Verbosity. This is her second show with Oncoming Productions. She graduated from the University of Minnesota Morris and the University College of Dublin. She's a founding member of Little Lifeboats.


Rob Ward

Performer

Rob Ward is an actor, deviser, physical theater artist, and improviser. He has worked with several companies in the Twin Cities including Upright Egg, Shadow Horse Theater, Actors Theater MN, Erin Sheppard Presents, and Apostasia Productions. Rob has also featured in several episodes of the FunWitFunny Show and is a founding member of the improv group Reservoir Frogs. This year's Fringe, Rob is also performing in 'Full Metal Rabbit' and 'Be Your Selfie.'


Meghan Wolff

Costume Design

Meghan Wolff is a Minneapolis improviser who can most often be found performing with ComedySportz, improvising Jane Austen with Manners & Misconduct, or improvising Shakespeare with Juliet & Juliet. She's also one-half of the podcast and YouTube channel Magic the Amateuring.


Kenneth Schneyer

Author of the Short Story

Kenneth Schneyer’s short fiction appears in Lightspeed Magazine, Strange Horizons, Analog Science Fiction & Fact, Beneath Ceaseless Skies, Uncanny Magazine, the Clockwork Phoenix anthologies, Escape Pod, Podcastle, Pseudopod, and elsewhere. He received nominations for both the Nebula and Sturgeon Awards for his 2013 short story, “Selected Program Notes from the Retrospective Exhibition of Theresa Rosenberg Latimer”. Stillpoint Digital Press released his first collection, The Law & the Heart, in 2014. By day he teaches legal studies and literature at Johnson & Wales University. Born in Detroit, he now lives in Rhode Island with one singer, one dancer, and one actor.

More information

Nobody noticed the first bombardment, not when it happened. One morning we woke up, as usual, and there were babies on our doorsteps. We chose to take them in. Soon the choices got much, much harder.


From the creators of TCIF IV's The Deep Dark, a story in the mold of Shirley Jackson and Rod Serling, told through light, sound, and movement.


WARNING: This show is horror theater, and is disturbing by intent. If you have trigger concerns, please contact lastbombard@gmail.com.


 


A note from Kenneth Schneyer, the author of the short story:


'The Last Bombardment' arose out of the Art & Words Show run by Bonnie Jo Stufflebeam in Fort Worth, Texas.  For that event, writers are given works of visual art, and visual artists are given works of short literature, to use as prompts.  Ken Schneyer based “The Last Bombardment” on Kris Goto’s striking ink drawing of a baby suspended in mid-air by balloons.  The story and the drawing were both presented at the show in 2013.  It was later produced as an audio piece on the Pseudopod podcast in 2015.  Thus, this story, written by a Rhode Islander based on a picture by an Hawaiian for a show in Texas, now appears in Minnesota.


 


The song "Night is Falling Little One" is original to this production
Music by Emily Dussault and Erik Ostrom
Lyrics by Emily Dussault
French translation by Thalia Kostman


All other music within the production by Erik Ostrom


 

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