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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Shows start and end on time at Fringe. With hundreds of performances and dozens of 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 a local establishment, 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. 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 hundreds of performances and dozens of 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 are live on this website. Fringe is open to everyone, shows are selected by lottery, and you don't even need to have a show ready when you apply.

Volunteer: Our 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 a local establishment, 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, Reservations, and Tickets, Oh My!

In 2018, Fringe will still offer passes but is also re-introducing single tickets options to see shows. We are re-tooling our Box Office policies to reflect our changes. Please check back for more information in the spring.

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By Collective Unconscious Performance
Created by Collective Unconscious Performance

Playing at Ritz Theater Mainstage


Opera/New Music, Physical theater/Clowning, Puppetry, Literary adaptation, First-time Minnesota Fringe Festival producer


Warnings: Adult language.

Dark, dangerous, and delightful, this re-imagined fairy tale takes a sordid slant on "Cinderella". From the twisted minds of the Brothers Grimm comes a tale brimming with puppetry and music.

The creators say this show is appropriate for ages 12-15 and up


Sat, 8/5 @ 10:00pm


Sun, 8/6 @ 7:00pm


Wed, 8/9 @ 7:00pm


Fri, 8/11 @ 4:00pm


Sun, 8/13 @ 5:30pm

* 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.

Read the reviews

Loved the show!

by Sarah Miller on August 14, 2017
This user has reviewed 3 shows

We loved this show! Saw 4 shows on Sunday, and this was the best! Thoughtfully conceived and well-acted. Loved the puppets and dolls, and Ibsen reference. Could have just listened to the one woman sing for the whole time--gorgeous voice. But wouldn't have wanted to miss the rest!

Wanted a Better Fairy Tale

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

Another case of my expectations being too high due to reviews. Kind of enjoyed it, but could have been so much better.

Possible Best Show at Fringe

by Cetius d'Raven on August 13, 2017
This user has reviewed 50 shows

I loved this fairy tale--it was charming, funny, and well written and performed. See it if you can.

Fairy Tale Magic

by Steven Modena on August 10, 2017
This user has reviewed 1 show

Skillful use of puppetry to serve the story. Wonderful physicality and energy from all three performers. The incorporation of opera singing added a beautiful eerie quality to some moments. Would have personally liked a bit more creative lighting and sound choices to immerse me in the world...but the simplicity of those elements doesn't necessarily detract from the show. This show is a must see if you like new takes on classic fairy tales.

Professional and Heartfelt

by Dahlia Acman on August 10, 2017
This user has reviewed 17 shows

I absolutely loved the story. "What do you want?" It's okay not to know sometimes.

The cast is incredibly talented and the show was well-rehearsed and polished. The singing was beautiful, and the use of puppets really added to the overall aesthetic.

What kept me from five stars was that somehow it felt too polished. The performers were obviously well-trained and all had lots of professional experience, but it felt a little cold and I would have loved more vulnerability.

Rewriting fairy tales

by Walter Furtney on August 10, 2017
This user has reviewed 35 shows

It might have been good but it just didn't appeal to me. Puppets.

Very artistic

by Bryn Tanner on August 9, 2017
This user has reviewed 7 shows

Stirring performances and some creative puppetry - definitely worth seeing if you're into the "something else" camp of Fringe shows.

1 person found this review helpful

The uses of disenchantment - a triumph

by Kit Bix on August 9, 2017
This user has reviewed 5 shows

David Hanzel’s princesses are never “seen” in the sense of being recognized in their totality. The kingdoms in which they find themselves are replete with sparkling dresses but undergirded by horrific desires and temptations. To survive, the young women must learn to be as wary of friends – and fathers - as they are of strangers. In Collective Unconscious re-imaginings of classic fairy tales transformation is never benign. The heroine’s quest is to remain intact with all her “parts”, a struggle that requires constant improvisation, fortitude and ultimately, a willingness to sacrifice of every desire but one – to remain the author of one’s story. Another dreamy, transporting work from 1 of the area's most innovative companies.

1 person found this review helpful


by Obviously A Bear on August 7, 2017
This user has reviewed 3 shows

Every time I thought I understood what type of performance I was watching, it would change. Just when I thought I had figured it out, it would morph and grow into something altogether different and delightful.
Zimmer does an amazing job of remaining emotionally vulnerable while being bitingly comedic.

A light touch on an old tale

by Sarah Parker on August 7, 2017
This user has reviewed 6 shows

I heard good things going in, but I was admittedly worried that this Goose Girl/Cinderella retelling would take itself too seriously. I was proved totally wrong! Poignancy and serious subject matter was beautifully balanced with funny and inventive puppetry, self-aware fourth-wall breakage, and unexpected pop-culture callbacks. Emily Zimmer is so charming to watch, and she gracefully and effortlessly broke the 'young beautiful princess' mold to give us a character who is fully realized and dimensional. The last minute or so of the play resonated strongly with me, and I loved that it was so open-ended. We are so much more than who we are perceived to be by others. Yep! I really loved it.

1 person found this review helpful

Pleasant surprise!

by Mark Webb on August 7, 2017
This user has reviewed 56 shows

Couldn't get into our chosen show, so ran around the corner and saw this one. What a nice surprise! The very talented cast made good use of the minimalist set, and moved this piece along at a quick pace. It was a great retelling of the tale with some nice devices and twists. Very polished and well done!

The moral of the story

by Cate Jackson on August 7, 2017
This user has reviewed 12 shows

Magic, sass, skilled puppetry, well developed characters who were much more interesting than the usual cliches. This is the re-imagining of old (often grotesque) fairy tales we've all been waiting for! Political with out being remotely preachy. Very very very funny. Take your daughters to this show, teach them to embrace the power of their own bodies.

2 people found this review helpful

Intense acting, strong script

by Pallavi Mondkar on August 7, 2017
This user has reviewed 2 shows

The 3 characters steal the show with their intense performance and puppetry and background singing, narration!

A Mixed Bag

by David Berglund on August 7, 2017
This user has reviewed 5 shows

Some elements work well, but on the whole this is a bit thematically, tonally, and structurally clunky. Doesn't quite hit home as much as it wants.

Not a detail was overlooked

by Florence Brammer on August 7, 2017
This user has reviewed 41 shows

This is just a wonderful show. The detailed attention to every element of the production -- costumes, movement, props, acting, staging, and of course the text itself -- showed in every scene. Beautifully conceived and executed, surprising and richly layered. Highly recommended.

Not what I expected fairy tale

by Heidi Ricks on August 7, 2017
This user has reviewed 1 show

This play weaves an old tale with country, rock ballads, laugh out loud moments and poignancy. The use of props is unique and enlightening, adding a depth and spin to the telling. The ensemble works well together and the audience was rooting for these characters by the end. A fun ride.

A smart and creative take on an old tale

by Deborah Yarchun on August 6, 2017
This user has reviewed 4 shows

This is a delightful show! The design is impressive (beautiful costumes, creative puppets) and the acting and directing top notch. I was continuously surprised and fully transported. The play tackles trauma and self-acceptance/discovery through a twisted fairy tale – and with humor. This is one of the best shows I saw in the Fringe.

1 person found this review helpful

Happy real ending!

by Lisa Lamb on August 6, 2017
This user has reviewed 5 shows

Very entertaining! Clever. Funny. Good acting. Thanks for an enjoyable show!

1 person found this review helpful

An old fairy tale made new

by Sue Searing on August 6, 2017
This user has reviewed 8 shows

Although there's a plethora of feminist retellings of Cinderella, this play manages to present some new twists that are both entertaining and thought-provoking. Harking back to the darker, pre-Disney versions, Skins traces a tale of self-discovery and self-respect that resonates in our own time. The staging and costuming is creative; the geese steal the show! However, the lecture scene that introduces the play strains to be funny and isn't necessary.

Nice use of puppets

by Eric Cohen on August 6, 2017
This user has reviewed 19 shows

More a mashup of Deerskin, The Goose Girl, and Cinderella than a re imagining of the last, but very good. Excellent physicality by the lead, and fun use of puppetry to bring together the more challenging elements. Slow costume changes did bring me out of it at times, but a good show.

Unexpected & Amazing

by Danna Sheridan on August 6, 2017
This user has reviewed 4 shows

The "sordidness" of the story is handled masterfully. Fantastic characters, acted to perfection. The puppetry was fun and well done. Costuming was very clever. Poignant story, with plenty of humor. I want to keep thinking about this one.

1 person found this review helpful

Nice twist and strong

by Thomas Hickson on August 6, 2017
This user has reviewed 3 shows

Wonderful acting, fun puppets, great message!


by Beth Hanzal on August 6, 2017
This user has reviewed 1 show

The humor in this show made me laugh but at the same time think about the my own life journey. This story was beautifully told in an hour with a mix of actors and puppets which made it very entertaining. The puppets were beautifully made and the cloak of one thousand furs (made with faux fur) was spectacular . It's beneficial to read the Director Notes in the program because he explains the depth of their story which is a journey of self-discovery and self-acceptance. I really enjoyed the venue too which is the historic Ritz Theater built in 1883 in the heart of northeast Minneapolis. So be prepared to laugh but also think more deeply about your own life journey and what it means to live an authentic life.

Nicely done

by Richard Heise on August 6, 2017
This user has reviewed 25 shows

Puppetry is not my genre but I thought they did a very nice job of using puppets and dolls to fill out the performance. It was cute a bit different and has a rather nasty twist. Not your typical fairy tale.

1 person found this review helpful

Screw Your Happy Ending

by Evan Stewart on August 6, 2017
This user has reviewed 2 shows

Skins is a fiercely feminist, delightfully profane romp through the Cinderella canon. There are no happily ever afters here—just enough new takes on the tail (and enough surprises from the minds at Collective Unconscious) to keep the audience guessing. Come for the puppets, stay for the Ibsen jokes.

Inventive comedy-drama

by Thomas Wald on August 6, 2017
This user has reviewed 1 show

A fantastic retelling of a fairy tale but with adult sensibility, humor and deeper meaning. And puppets! Did I mention the incredibly inventive puppets?! Excellent cast and superb acting. The script is fast-paced, but doesn't detract from the catching all of the dramatic elements.

Newer Version of the Older Version

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

This show was really well done! I loved the new version. Great acting! Puppets! Costumes! I highly recommend this show. I suggest reading the directors note to fully appreciate what they have done.

Absolutely perfect, DO NOT MISS

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

Rarely is such a show so poignant, thorough and innovative. This is a fairy story about many things but particularly about reclaiming the self after trauma/abuse, and reclaiming autonomy of womanhood from folklore and fairytales. Emily Zimmer is a force to be reckoned with as an actor. In supporting but prominent roles, Sarah Dewhirst's comedic chops and haunting, poignant musical contributions are particularly strong. And Logan Verdoon's earnest presence and comedic timing round out a strong cast. Beautifully directed. Costumes and use of puppets were stunning, and sound, prop and lighting design added just the perfect touches to a strong script and round out this marvelous production. DO NOT MISS THIS SHOW. Deserves a full house.

Cast and crew

Emily Zimmer


Emily is an actor and teaching artist. She is the artistic director of the Chicago Avenue Project at Pillsbury House Theatre and works in the Neighborhood Bridges program at Children's Theater Company. Her work has been seen with companies like CTC, Open Eye Figure Theatre, Frank Theatre, Pillsbury House Theatre, Live Action Set, Intermedia Arts, La Jolla Playhouse, Florida Stage, and various others. She studied clown with Pierre Byeland in Switzerland.

Logan Verdoorn


Logan is the artistic director of Shakespearean Youth Theatre, and he has performed locally with Frank Theatre, Girl Friday Productions, and Minnesota Jewish Theatre Company. Previously, Logan has also acted with English Theatre Berlin, and has worked as Theatre Coordinator for New York University's Berlin campus. Logan is a graduate of NYU’s Tisch School of the Arts.

Sarah Dewhirst


This is Sarah’s third production with Collective Unconscious Performance, and sixth collaboration with David Hanzal. Though she has participated in different capacities of the MN Fringe Festival in the past (music director, composer, designer), this is her first time as a performer. Past collaborations outside of MN Fringe include Theatre Undertow Collective’s recent production of Door to Door at the Phoenix Theatre (Assistant Director, Costumer), Theatre Coup d’Etat’s Antigone (Co-Composer, Music Performance, winner of Lavender ’s award for Best Sound Design along with Steven Modena) and the world premiere of My Soul, and Other Broken Things (Playwright) at Metropolitan State University, which was an invited production at the Kennedy Center American College Theatre Festival Region V, as well as the winner of “Outstanding Production of a New Work” at the national level in Washington, D.C.

David Hanzal

Director & Production Designer

David is a theatre director, designer, and adapter based in Minneapolis, MN, and is currently the artistic director of Collective Unconscious Performance (http://www.collectiveunconsciousperformance.com/). He has assisted directors at the Guthrie Theater, Children’s Theatre Company, and the Jungle Theater, and he has directed, designed, or taught at Pillsbury House Theatre, Bedlam Theatre, Bryant-Lake Bowl Theater, Filament Theatre, Metropolitan State University, St. Paul Academy, White Bear Lake Area High School, Stages Theatre Company, Shakespearean Youth Theatre, and Youth Performance Company. David completed his Master of Fine Arts in Theatre Directing at the University of Iowa, where he regularly developed and directed premieres of new plays and devised work with writers from the nationally-recognized Iowa Playwrights’ Workshop. He has intensively trained with Anne Bogart and the SITI Company, Kari Margolis and the Margolis Brown Adaptors Company, Czech master puppeteer Miroslav Trejtnar, and the Wesley Balk Opera/Music-Theater Institute. For more information on David, visit: https://davidhanzaltheatre.carbonmade.com/

Emily Dendinger


Emily is a Virginia born, Brooklyn-based writer. Her plays include Hideous Progeny (produced by LiveWire, Holland Productions and North Park College), For the Falls, Still Quiet, and Pocketful of Sand (winner of the 2016 Activate Midwest New Play Award). She is a two-time winner of Theater Masters National Play Competition, and a finalist for the City Theatre National Award, the Heideman Award and 2017 Emerald Prize. Emily has worked around the country with companies including The Lark, Sideshow Theatre, The Alliance, NNPN, LiveWire Theatre, Filament Theatre, Available Light, The Trip, NJ Rep, Collective Unconscious, Curious Theatre Company, and TimeLine Theatre. Emily was the 2015-2016 NNPN Playwright-in-Residence with Curious Theatre Company and is an alumni member of TimeLine’s Writer’s Collective and the Alliance Theatre’s Kendeda Group. MFA from University of Iowa’s Playwright’s Workshop.

Sofia Lindgren Galloway

Associate Director

Sofia is a director and educator who has worked with Ten Thousand Things, The Jungle Theatre, Frank Theatre, Little Lifeboats, 20% Theatre, Lyric Arts of Anoka, Stages Theatre Company, Shakespearean Youth Theatre, and Theatre Pro Rata. Sofia graduated with distinction from St. Olaf College with a degree in Theatre, and a minor in Education. She is also the Community Outreach Programs Coordinator at The Bakken Museum. You can find more of Sofia’s work on her website: http://sofialgalloway.wixsite.com/sofiawithanf. This is Sofia’s second production with Collective Unconscious.

Kevin Springer

Sound Designer

Kevin Springer is a sound designer and engineer born and raised in Litchfield, Minnesota. Favorite projects include the sound design for Dutchman and The Owl Answers with Penumbra Theatre and a solo audio performance created from oral history recordings at the former State Hospital in Fergus Falls, Minnesota. Upcoming work includes Man of La Mancha with Theater Latté Da and mONSTER with Swandive Theatre.

Eva Adderley

Assistant Production Designer

Eva is a writer and designer from Iowa City, Iowa. She has a BFA in Metal Arts from the University of Iowa, with minors in Theatre and English. Her plays have been performed in Minneapolis, New York City, Sydney, Cape Town, and several cities in Iowa. She was the winner of the 2013 International Student Playwright Award from the National Student Drama theatre in Scarborough, England, and she was a presenting playwright at the 2015 Women Playwright’s International Conference in Cape Town, South Africa. She has worked as a costume designer, props designer, set designer, scenic painter, children’s theater director, metalworker, muralist, and commission artist. She moved to Minneapolis last September, and has spent the last several months working to get involved in the Twin Cities’ vibrant theatre scene.

Leif Jurgensen

Outside Eye

Leif has performed with Red Bird Theatre, Children’s Theatre Company, Frank Theatre, Minnesota Dance Theatre, Loudmouth Collective, Walking Shadow Theatre Company, Paul Bunyan Playhouse, Workhaus Collective, Wayward Theatre, Red Eye, Ten Thousand Things, and 15 Head. He studied Viewpoints and Suzuki at the SITI Company’s Summer Intensive in Saratoga Springs. Leif is also a Teaching Artist with CTC’s Neighborhood Bridges and Early Bridges Program.

More information

Dark, dangerous, and delightful, this re-imagined fairy tale takes a sordid slant on "Cinderella". From the twisted minds of the Brothers Grimm comes a tale brimming with puppetry and music. You know how it starts ("Once upon a time…"), you know how it ends ("…happily ever after"). And you know what happens in between… Or do you?

What Twin Cities critics have said about previous Collective Unconscious productions:
"This devastatingly beautiful, compassionate, witty, subversive, and exquisitely imagined play about the struggle for human dignity is not playing long... but if you can get down to the Red Eye Theater in time, go see it. It will blow your mind and break your heart at the same time."
-Kit Bix, Talkin' Broadway Regional Reviews

"[I]f, like me, you enjoy something a little unusual and fantastical, something that is alternately funny and serious, ridiculous, decadent, and fabulous ... get thee to Red Eye Theater and give yourself over to the magic."
-Liz Byron, Aisle Say Twin Cities

“The subconscious world of fabled folklore, myth, and fairytales, is the frontier explored by the newly launched Collective Unconscious Performance group. ... The vibrant duo of Philip Gates and Sarah Dewhirst… operate puppets beautifully designed by Hanzal…”
-John Townsend, Lavender

Learn more about Collective Unconscious on their website and on their Facebook page.

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