New York City Fringe (formally the FRIGID Fringe Festival) is an open, lottery-based theater festival that gives artists an opportunity to let their ingenuity thrive in an environment that values freedom of expression and artistic determination.  In true support of the Indie Theater Community, 100% of box office proceeds go directly to the artists whose work is being presented.

Miami Madness

My first and last experience in the fabled city of Miami involved my hotel room being robbed and my wallet pickpocketed.  When I went to board a plane and explain to the TSA agent why I had no identification he said, “that’s Miami”.  Did I need to go back and immerse myself once again in Miami Madness?  Thanks to writer and performer Dennis Rodwin the answer is a resounding yes.

His story begins over a year ago.  Mr. Rodwin is asked to write a musical about the history of Miami.  This show will take place on a boat.  What follows is a one man monologue jam packed with jokes, historical tidbits, danger, sexy conquistadores, a lesson in first class upgrades and offensive Native American costume design.

We learn about a funny religion called “commercial theater producers”.  They believe they can make money.  Our host has spent a career in this world and wouldn’t mind making a few bucks.  He is approached by a deal making, probably shady foreign accented wheeler and dealer.  He has some bizarre ideas for this show (which would be both amusing and revolting to see).

This grand adventure begins on a plane flight to Miami.  Should he take this gig?  Is Oleg on the up and up?  A desire to contribute something to the theatrical community is a driving force.  His producer wants to create the “most successful musical ever made” in a very short timeframe.  Costumes are made before there is a script.

Side adventures take place in a car, in the ocean and at hotels.  Every diversion is entertaining.  The show is one hour long.  An impressively dense story feels whimsical and moves along swiftly.  The twists and turns never fail to surprise and captivate.  Little side trips are funny and silly scary.  Has Mr. Rodwin embellished (or fabricated) some or all of this story?  If so, his madness is our gain.

Research is obviously required to write a musical about sunny Miami Beach where there’s “always a view, never a Jew”.  The rampant antisemitism prevalent during the development of this area provides commentary on our country’s racial injustices without ever launching into preachiness.  The litany of examples cited led me to learn more from Google.

The large Cuban population is also covered.  I did not know that Desi Arnaz from television’s landmark series I Love Lucy is credited with introducing the conga line to the United States.  That brief description is vividly memorable.  The storytelling here is meticulously organized and confidently told.  The journey is endlessly fascinating and equally idiotic, an ideal combination.

Quite a few confessions are made.  Mr. Rodwin likes Jimmy Buffet’s Margaritaville restaurant chain.  Apparently it is surprisingly good.  Two weeks ago I listened to Colin Jost’s memoir.  In it, he also exclaims the joys of this establishment.  I’m going to give in and grab a cheeseburger in paradise.  Hopefully I will savor its juicy delights as much as I did with Miami Madness.

Stroke of Genius

Dr. Walter Winkworth-Perez is academia’s foremost authority on Pantomime Masturbation theory and practicum.  Puns like that appear non-stop during this lecture on such theory throughout performing arts history.  Stroke of Genius is a good natured lightly raunchy trip spanning imagery from 3,000 year old pottery shards featuring large penises to 1920’s silent film star Ira K. Goldsmith, aka “The Spankin’ Shyster”.

The professor tells us that his field of study is admittedly eccentric.  We are told that we are allowed to laugh.  He banters with his students in a fill in the blanks section.  Riffs include ridiculous asides (“hand to gland combat”) and more aggressively vulgar ones (“making stomach pancakes”).

Through the ages this lecture travels.  Shakespeare parodies include “Much A Goo About Nothing.”  This comic idea is relentless in its focus.  Unfortunately the jokes proffered do not garner the expected laughs so the silences are awkward.

Numerous well-made film clips feature phallic excess from famous films of yesteryear.  Frankenstein is an example using “monster-bation tropes”.  In the shipboard clip Friggin’ the Riggin’ our seaman is “quite the jolly Roger”.  DW Griffith and Jules Verne get a rewrite as well.  Charlie Chaplin is an obvious influence.  He played The Great Dictator after all.

Stroke of Genius is conceptually a great idea for a farcical sex comedy about a taboo topic not normally given an uninterrupted hour of analysis.  Shane Mayforth plays our droll professor and writer Vulva Va-Voom (also in this festival’s TransMasculine Cabaret) pulls dual duty as writer and film star.  Both are game clowns, serious and stupid.

Comedy is, to put it bluntly, hard.  The material in this show is underpumped so the expected climaxes of hilarity are muted.  I do think this show could be coaxed into becoming a playful bit of burlesque-y bar stage fun.  Maybe as part of a drag show. An inebriated audience craving potty humor might be the target demographic.

Whatever the future holds (get it?) there will be women in the audience.  Presumably masturbation is more universal?  Perhaps a nod to the ladies is advisable.  Movie idea:  Inside Daisy’s Clover.  The gem of an idea has been sown.  The reaping of endless laughter will require some more tilling.

The New York City Fringe runs through April 21, 2024 at three locations: The Wild Project, 14Y Theater and UNDER St. Mark’s.  Most shows are also livestreamed.

www.frigid.nyc/festivals