Category Archives: Fringe Festival

Iconicity unleashed!

So, my better half — co-founder of the Eleventh Hour Ensemble — got to breathe a big sigh of relief last night. The first of a half-dozen Capitol Fringe Festival performances of Iconicity, a photography-and-memory show she and Ryan Christie created with the aid of a gifted cast, went off mostly successfully. (So says Dan Owen, blogging for the City Paper’s Fringe & Purge dealio.)

The biggest flaws were all light-and-sound-related, and thus entirely my fault, since I was running both boards. In my defense, we had exactly one rehearsal in the Fort Fringe space and using their equipment. (I’d else practiced the sound cues on an iPod, which is a little different from a soundboard.) But that’s no excuse. I pledge to you that when you attend one of the five remaining performances of Iconicity — as you must! — the light and sound cues will be dead-solid-spot-on perfect.

How’s the show? Fabulous! Truly, that’s my as-objective-as-can-be-expected assessment. It’ll resonate especially with anyone who reads this story in today’s Paper of Record by Warren Zinn, who frets that a photo he shot of Army medic Joseph Dwyer during the first week of the U.S. invasion of Iraq in 2003 may have contributed to Dwyer’s suicide last week. Sad, haunting stuff.

Dipped My Wick


 . . . into The Inkwell, Capitol City’s latest playwright-focused theatre company, for DCist.

Can’t talk. Writing.


Been busy this week covering the Capital Fringe Festival, which closes tonight. Miss Crooks’s show, Love & War with the Bard’s Broads and Dames, was an unqualified success, I’d have to say, even though the sound cues were way off in the choreography-heavy “The Juliet Letters” half of the show on the night that the City Paper’s Glen Wheldon happened to be there. (His review was mixed-positive — and Miss Crooks is complimented by name on her acting — but shoulda-coulda-woulda been a home run.)

My posts about various Fringe haps are here, here, and here. But I’m most pleased by this one.


You can ask for only so much of a single night, but sometimes it’ll give you more all the same: Last night Miss Crooks’s Love & War opened at Touchstone Gallery. It was a great house with lots of friends and lots of friendly strangers present, and for all Miss Crooks’s angst, the show came off splendidly despite a few minor opening-night technical gaffes.

I hopped in a cab right after to get to the 9:30 Club, arriving in time to find my friends and grab a Stella before Drive-by Truckers took the stage at around 10:40 p.m. My DCist review is here, oh Gentle Reader.

“Stroker Ace” Mike Cooley, Rock and Roll Star

THE DIRT UNDERNEATH (sit-down, acoustic)

1 Heathens
2 Love Like This
3 Nine Bullets
4 (Mike Cooley song I didn’t recognize; probably new)
5 (Patterson Hood song; ditto)
6 Space City
7 The Night G.G. Allin Came to Town
8 Lisa’s Birthday (a new Cooley — I think he said that’s the title)



9 Puttin’ People on the Moon
10 (Unknown Cooley song)
11 The Living Bubba
12 Gravity’s Gone
13 Road Cases
14 Where the Devil Don’t Stay
15 Ronnie and Neil
16 Guitar Man Upstairs
17 Lookout Mountain
18 Checkout Time in Vegas (new Mike Cooley ballad)
19 (Patterson Hood song)
20 Women without Whiskey
21 Let There Be Rock


22 A World of Hurt
23 Zip City
24 Buttholeville / State Trooper (Springsteen cover!)
25 People Who Died

Love & War, Rehearsed

So, Miss Crooks’s Fringe Festival show, Love & War with the Bard’s Dames and Broads, opens tomorrow night. You can get a two-for-one ticket deal if you act fast. Meanwhile, the CityPaper’s Dave Nuttycombe has posted some video he shot at their rehearsal the other night as part of CP’s Fringe & Purge coverage. Here it is for your viewing pleasure.

I hope to see you all there!