Crossover: A New Pop Musical is Virtual Theatre Worth Your Time.

From top left clockwise Chelsea Cylinder, Boris Dansberry, Ali, Walker, and Taylor J. Mitchell. Virtual Production Design by Tristan Horan

Theater, live theater, and those who make their careers and livelihoods in theater have been decimated by Covid-19. Many artists have searched for ways to continue their work in some way. Producing virtual shows has been a way for many actors, writers, directors and other artists to forge ahead during these dark times. While this is a great solution to our current situation, it’s generally less than ideal. I long for the days when I can be in the same room with performers who are sharing the same space. Good actors performing via zoom can raise the performance above the level of a table read but they can never achieve the connection that is forged with each other and with a live audience virtually. Crossover, a new musical by Danielle E. Moore is positioned better than most shows to succeed virtually, and the best example I’ve seen of a show overcoming the obstacles of theatre of the virtual.

What works in Crossover‘s favor is that it is about a televised singing competition in the style of American Idol. Many sections of the script take place as segments of the show and those in particular work well. The plot revolves around four finalists that tie for the west coast slot on the show. They are given the choice of splitting their allotted time on the show separately, giving them each 1 minute as solo artists, or to form a group so they have the 4 minutes allotted for the west coast semifinalist. They opt to form a group, ‘Four-Way Tie’. The hook of the competition is that every week they have to perform in a different style, the aim is to crown someone who has the most “crossover” appeal. Each of the four women specializes in a different genre. Reggie is a Soul singer, Max is into EDM, Hallie is the Country singer, and KC is the Rocker. What sways them to reluctantly team up is the idea that they can utilize each others strengths to help them all maximize their “crossover ” credibility.

The shows strengths are it’s cast and the songs. All four of the leads Taylor J. Mitchell as Reggie, Boris Dansberry as Max Green, Chelsea Cylinder as KC, and Ali Walker as Hallie all create individual characters that are not simply their style of singing. The four characters develop a relationship out of necessity which turns into a friendship. It’s a testament to the writing and the performers that that friendship doesn’t seem forced, rushed or false. All of the characters are given something to do outside of their interactions as the group. Two of the group are also given a romantic relationship together. These side stories for each are part of what gives their characters depth and the romantic relationship gives the show it’s heart. Only the character of KC whose side story is that her mother was a very successful musician and has never encouraged her seems to be let down. Her mother makes an appearance but the moment felt like it needed to be built up a little more. There are actually several areas of the script that could be tweaked, but in most cases those tweaks would really work only in a live situation. I suspect those moments where something more would drive the emotion or the scene home would contain that element if the actors could actually interact.

Moore’s songs are very impressive they are slightly let down by the virtual experience. I was able to airplay the performance from my phone to my TV, but four vocal performances mixed via video, as abely as it is done, the lyrics just get lost. One can tell that in a live situation all of the performances from Four-Way Tie would be knockouts, virtually, they suffer from being indistinguishable. This is the challenge for anyone trying to mount a musical in this era of virtual performances, you are at the mercy of every single persons audio/video equipment, from cast recording themselves to audience playing it back in different ways. It’s a challenge and Crossover does it’s best to meet it, but the vocal complexities of these four part songs is to much at times. What works much better are the duets and solos songs. I sort of hate to single any of the leads out because they are all really good, but the performer that really stuck out for me was Boris Dansberry as Max. They have a duet with Donovan Lockett who plays Max’s idol Shea Stone that was very impressive. Their solo performance was also my favorite of the 4 leads in their introductions to us. It seemed to me that Boris’ voice came through the best audio wise, it may have been their equipment or the pitch of their voice or my equipment being best suited to them, but things were noticeably clearer when they were singing. Taylor J. Mitchell’s voice seemed hardest hit by technology in the group songs, but then was also quite strong in her solo “Traitor”, which was her moment to shine.

So yes Crossover does fall prey to some of the downfalls of virtual theater, but it does a surprisingly good job of overcoming many of them as well. Praise is deserved for director Amanda Pasquini for finding the best way to mitigate the worst of the usual pitfalls. Using creative staging for some of the songs, having the actors in profile, mixing things up here and there keeping it from looking too static. The show also uses graphics and editing in creative ways to keep things looking interesting and fresh avoiding that ‘Zoom’ look – Credit to Graphic Designer Jeff Buterbaugh and editor Tristan Horan for their work. Crossover had it’s work premiere in September as part of the 2020 Philadelphia Fringe Festival and will be available to live stream Saturday December 12th 7:00 PM CST as part of the 2020 Rogue Theater Festival. Tickets are $12.00 and are available through the Rogue Theater Festival’s Show Page here

Virtual Concert Benefit For Partnership Resources Inc. Featuring Some Great Local and National Talent!

Tickets are free for this benefit concert which features national talent such as Tony Award winner Santino Fontana (Best Actor in a Musical 2019 Tootsie) as well as locals such as T. Mychael Rambo and Christina Baldwin. I became aware of this show through my friend Joel Liestman who is on the Board of Directors for PRI, and who was instrumental in putting this concert together. I’m excited to see what everyone has in store for us. I hear that the performance by Christina Baldwin and her sister Jennifer Baldwin Peden is quite moving. T. Mychael Rambo is always an amazing performer. I’ve been a fan of Santino Fontana from his role as the original Greg on Crazy Ex-Girlfriend and as Hans in Frozen. Plus, along with the professional talent performing during the concert several of their clients will also perform.

Partnership Resources, Inc. (PRI) is an organization that provides opportunities to individuals with disabilities to achieve their goals
through day services, arts, and employment. As I said, it’s a free event but, be sure to register by clicking here And while we all enjoy free entertainment, please remember to donate to this worthy cause. Like every company, organization, and group in the world right now PRI is facing tough times. I believe it’s all of our responsibilities to help those in need. PRI is an organization dedicated to helping those in need providing paths for individuals with disabilities to be fulfilled and to find success. Please attend this virtual concert and support this company in their efforts to make a difference.

UPDATED!! Review of I’m Not Playing at Minnesota Fringe Festival.


I’m Not Playing is a rarity among the virtual Minnesota Fringe Festival offerings in that the video is very high quality. Clearly shot with an HD camera and very well lit. Unfortunately, like many Fringe offerings the audio is not great. I’m not sure if we are not supposed to hear what is happening at times or if sound has just been poorly captured. The installation is comprised of a single static shot, characters move in and out of frame. The story is about four roommates Dev, Jeremy, Jess and Caitlyn. Jeremy and Jess have just broken up the night before and the narrative is about the roommates efforts at facilitating Jeremy and Jess’s communication. The description says you can view it from a different POV which might help us to make sense of everything including long segments when nothing is happening on screen. If it can be viewed from different perspectives there must be a game to figuring out how to do it because it isn’t obvious or explained and I couldn’t figure it out. The POV I saw it from was “The Living Room” If there are indeed others like “the Bathroom” or “Jess’s Room” it might make the project more worthwhile. You definitely have the feeling you are missing something and you are not sure if this is one piece of a puzzle or if it’s just been inadequately produced.

As frustrated as I was by low and unintelligible dialogue when the presentation ended I went looking for other POV’s. That says something about what this group of performers presented. I suspect there are other cameras set up in different areas and the cast moves between them in real time so that you never have the full picture until you have seen all POV’s. That is a brilliant construct. The audio issues could be intentional because you’re not in the location where the dialogue is clear. If that is what’s happening here, then these are probably the first performers I’ve seen yet that figured out a way to do this virtual Fringe effectively, except of course the part where they maybe didn’t do that or did but didn’t make it clear how to see the other POV’s. I’d love to hear the answer to this question and if there are other POV’s, be pointed to them and I’ll gladly amend this review. At this point it’s a miss, with the feeling it might be a hit.

UPDATE: It’s a hit!!! Thanks to facebook comments from Derek Lee Miller, I was able to view the other POV’s and it was as I hoped, cameras set up in other locations all in real time. The trick to the viewing is that the Living Room is the only view available at the beginning, after it cuts from Jeremy’s instagram video other buttons appear above the video with other locations. Aside from the “Living Room” there is also “Dev’s Room” “Jess’ Room” “Whiteclaw” and “The Bathroom” which is the last room to become viewable. Once you’ve watched two or three you’ll be able to tell as you view the other rooms when you can slide the bar along and skip ahead. Put altogether I found this one of the most effective uses of the virtual experience. It probably owes more to film than it does theatre but it grabbed my attention and held my interest through five separate POV’s. the audio issues I mentioned earlier for the most part are eliminated by the different video streams, though the “Living Room” does have a sound issue in that a lot of Jeremy’s conversations you have to strain to make everything you should be catching.

Stuck in an Elevator with Patrick Stewart. Boldly Playing at the Minnesota Fringe Festival.

Photo by Pedro Juan Fonseca

Stuck in an Elevator With Patrick Stewart is another recorded show from a previous Fringe Festival, in this case 2013. If you’re a fan of Star Trek: The Next Generation you should find this very entertaining, if you are not a fan you probably will as well. Much like The Scranton Strangler: An Office Musical as enjoyable as the video of this is, it does make you long to see it in person. I hope this is something I’ll get a chance to see performed live some day. The play takes place at a Science Fiction Convention between the first and second seasons of ST:TNG. Patrick Stewart has gotten word that they are moving forward with the second season and in all likelihood will be exercising their option on his 6 year contract. Because of this he will have to turn down the lead in Richard III on stage, a role he has always wanted to play. In this foul mood, and seeing ST:TNG more as a curse than a blessing he loses patience with the fans lining up for autographs and the questions they ask him, eventually storming off. He ends up in an elevator with Daniel, his biggest fan. As the title foreshadows, the elevator gets stuck. Patrick over the course of their entrapment learns the true meaning of Star Trek from Daniel.

What is really smart about the script is the way it weaves true autobiographical information into the play. The parallels it illustrates between the fandom and escapism that Patrick at first ridicules with the way he coped with similar situation when he was young. More than once Stewart judges the books by their covers and makes assumptions about the people who are Trekkers only to be surprised by the realities. He tells Daniel he should read more than stupid tie-in Star Trek novels only to be surprised to learn that he read A Tale of Two Cities not long ago. There are many other examples like this and playwright Brandon Taitt does a skillful job of working all of these little aha! moments into the dialogue naturally. I was surprised by a subtlety I did not expect from such a high concept play that is only one hour long. There is quite a lot going on in this play, it’s entertaining and funny, but there is also some real food for thought, but it wisely lets that breathe rather than hammering it home. George M. Calger plays Patrick Stewart and he does a good job, but I felt there was room for a closer interpretation. It’s always difficult to play an extremely famous person. A impression is not the right approach, but I do think you want to try and capture their mannerisms and vocal work as closely as you can. It felt like some of those subtler mannerisms could have helped the illusion more. Brandon Caviness plays Daniel and he does a really nice job. He embodies the Fanboy, but shows us the person underneath that is all too easy to dismiss, he’s a fully rounded out character, again a tough thing to pull off in a short play. I really recommend this one.

One Quick Review From The Minnesota Fringe Festival

Super Patriots! is a program consisting of 2 short plays written by Carl Danielson. The first play focuses on Senator Joseph McCarthy and is manly staged with cutout photos of Mccarthy and other politicians. It is a satirical play which while presenting a fairly accurate account of the early 1950’s “red scare” and the rise of McCarthyism also draws parallels to the current state of politics and the “orange scare”. At around 10 minutes it is an entertaining and engagingly thought provoking piece of theatre. Part 2 is “Doughface” about President James Buchanan. This 10 minute short isn’t quite as successful, partly because it has 4 performers acting together in a Zoom session. I know it’s one of the few tools we have to still try and present theater in this time of Covid-19, and this works as well as Zoom performances do. “Doughface” while not as successful as Part 1, is still worth your time and like the play on McCarty, it draws some very strong comparisons to today. These are definitely worth your time, Part 1 being a more effective theatrical presentation in these days of social distancing. Both are humorous and based more on fact than you might think, some of the more outrageous sounding bits are actual quotes.

Three Reviews from Day Two of the Minnesota Fringe Festival.

Daniel Hertz

The Prostate

Daniel Hertz one man show about a prostate exam runs about 12 minutes which is about 11 minutes longer than any prostate exam I’ve ever had and about as enjoyable. It isn’t really funny nor poignant, it’s sort of just a monologue about a prostate exam and the follow up procedures. It lacks any sort of driving force other than to relay what happens. I thought it might be a fun bit, but it’s really lacking anything to say about the prostate, humorous or otherwise. I’m at a loss to understand what Hertz was trying for here and as such, I have to recommend skipping this one.

Photo by Alyssa Rae

The Graveyard

A 20 minute video created using Zoom or a similar application featuring 4 high school kids. Written by Alyssa Rae who also portrays one of the teens. The title leads you to believe there might be something spooky in store but there isn’t. It’s simply four friends walking around a graveyard looking for the gravestone of the boy who supposedly haunts the grounds. But that’s just a setting for the characters to be and lends itself to help us accept the artifice of the Zoom format. They are basically just four people surrounded by the pitch black of a graveyard at night. The four actors do a good job of performing their roles naturally, given the fact they are not in the same place. The conversation and where it leads has some thrust but we are left feeling like this is an excerpt from a larger piece. It’s worth checking out if anything for the performers, who along with Rae, are Michael Munoz, Tara Stona, and Elliot Stevens.

A Circus Show

This is a great show for the whole family as long as you don’t have impressionable and daredevil children. It lends a professional quality video recording of an acrobatic act that will have you biting your nails. There is the hint of a story given by a narrator that the two tumblers if you will, are brothers forced to perform until they are released by an audience that doesn’t applaud. They are going to be at this for a very long time. The brothers feats of fitness begin with a giant ring and some balancing acts where they use each others weight to accomplish amazing positions and movements like the one in the photo above. They are so graceful that they make it look easy, which I am sure it’s anything but. They graduate to doing handstands on a precariously balanced stacks of chairs on top of a wooden platform to a height where their feet are literally up in the stage lights and rafters. They end with some high flying on a makeshift teeter totter that will have you flinching waiting for one of them to land wrong and break a leg. Not quite as nerve racking as seeing it live, knowing it was recorded does remove to some extent the fear that they will fall. The narrator and acrobats are Csaba Szilagyi, Zachary Miller, and Alex Wiggins.

Two Reviews From Opening Night of the Minnesota Fringe Festival


#txtshow (on the internet)

I’ll let you in on a little secret, tonight was my first ever Fringe show. Coincidently it was also Brian Feldman’s first Minnesota Fringe performance. #txtshow (on the internet) is a fully interactive performance piece. Brian Feldman is the creator if the show and the performer but you and I, your partner or BFF, or even your grandmother are the writers. The show takes place on zoom, most of us have become very familiar with zoom over the last few months. Be warned you will have to leave your microphone and camera on for the entire performance. Hey, a reason to put a little effort into your appearance again for a change isn’t really a bad thing. The concept is simple and the tech works pretty smoothly. Once Feldman, in the character of Txt (pronounced Text), sits down at the desk, we the audience begin to feed him lines of dialogue. Feldman reads the lines of dialogue as they come up and does so for about 45 minutes straight.

Every show is different obviously, as the audience for each show provides the script. It’s a little tricky at first but the more everyone participates the better the shows will be. It’s a lot like improve but we as the writers have to be the ones who play nice, always say yes and always try to keep the story alive. It lends itself as a concept to absurdist comedy, non sequiturs, and very strange tangents. Be warned, it could go anywhere so this is not a show for children. Feldman’s strength is in his delivery, he knows how to cold read a line and instinctively how to say it to try and blend it with whatever came before or might come next. My suggestion for any aspiring writers out there is to sign up for one of the remaining performances. Write longer lines of dialogue, try to keep with whatever the general theme is and make the wording as open at the beginning and end as you can. When the sentences flow it’s really quite fun, what doesn’t work as well are one or two words at a time, they frequently don’t blend well. The biggest factor on whether it succeeds or not is you, so participate!

It’s a free show and worth every penny. Upcoming performances of #txtshow (on the internet) are Mon Aug 3 & Thu Aug 6 @ 9:00 PM and Sun Aug 9 @ 5:00 PM is the link to sign up. The email you are sent once you register will have a PDF explaining how it works so read through it before the show starts. There will also be links for ways in which you can donate to the performer. Please remember all it cost you was the $5 for a Fringe button and to show Mr. Feldman some love if you have a good time.


The Scranton Strangler: An Office Musical

This is a tricky one. This is a video recording from a previous years Fringe festival. The show itself is good, the quality of the presentation is not. I started to watch it on my TV, but I couldn’t make out the words very well, particularly when they were singing. I quickly switched to my laptop and that was definitely an improvement, but it’s still less than ideal. If it wasn’t free I would say skip it. If you are not a fan or if you have just recently started to watch The Office, I’d skip this as there are actually a lot of spoilers for what happens with the characters in later seasons. If you are a fan of The Office and have seen most of the episodes you’ll probably find enough in the poor presentation to make it worth watching. The actors and the writer know the show and the characters really well. They capture the humor and the essence of all the characters. In fact this is one way in which the fuzzy washed out video actually helps as a few of the actors you can almost mistake for the shows actual cast. Particularly effective are Melissa Noelle Murray as Pam and the actor not listed on the Fringe Website who is channeling Kevin perfectly. It will definitely wet your appetite to hopefully see the show live sometime in the future.

The Scranton Strangler: An Office Musical is a well written show and available to view anytime during the festival with your Minnesota Fringe button. If you don’t have a Minnesota Fringe button yet, go here From this site you can click on the heading along the top where it says buy a button. Buttons are $5 and will give you access to the digital hub. That’ll give you access to a lot of free shows, some live shows, and some recorded shows. Some shows will require an additional payment.