by Ciahna Heck

Three Princes Theatre presents the end of things. at the Charm City Fringe Festival, a daring new piece of theater which touches on the termination of multiple relationships and the possible demise of the very universe we call home. Written and directed by Baltimore local David J. Hills, this show was beautifully done. Although incorporating abstract movement and sound-based scenes made it at times a bit difficult to follow, overall the production delivers a powerful piece of theater that leaves you questioning everything going on in the world.

Many elements came together to cohesively bring this conceptual production to the stage. Moving performances by Tess Mathewson, Calla Fuqua, Barrett Pitcher, Ariel Cavalcante Foster, Leila Hanna-Kohen, and Zoe Gilmore gave viewers a whole new concept when thinking of the term “dysfunctional relationships.” Upon entering the ballroom-like space, the actors await your arrival, frozen in striking poses that introduce different levels to the eye. Each actor dives headfirst into their character’s life, maneuvering through broken timelines during fleeting moments and solid monologues. They never specifically name which fate is really at stake for the world, leaving much to the imagination.

Among the many elements that came together to bring this theatrical production to play were the calming sound effects and snippets of song. From the recorded sound effects (Sound Designer Chris Mayhew) to the organic sounds mimicked by the actors and their everyday instruments- their bodies- the sounds added to this production. Small acapella pieces interwoven within the script helped to break away from the messy topics at hand and shed some positive light to a seemingly dark world.

Many aspects of this piece were impressive and engaging, while some other choices made for a distraction. The seating was arranged as theater-in-the-round, with four rows of seating designed to create a square encompassing the stage making for a very immersive experience. This caused some discrepancy during scene changes and blocking as some of the audience members’ vision was covered completely. When transitioning from scene to scene, the actors were faced with the challenge of using minimal props and their physical form to set the atmosphere. Actors would take the physical form of furniture, introducing their abstract concepts and creating their world with as little as a few items and powerful dialogue.

Running Time: About 45 minutes

Three Princes Theatre’s the end of things. played in the Charm City Fringe Festival through November 11, 2018, at the Downtown Cultural Art Center, 401 N Howard Street, in Baltimore, MD.

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Mt. Rushmore, activist-artist Monica Hunken’s one-woman show at the Seventh Annual Charm City Fringe Festival through Sunday, has it all: badass women, time travel, punk rock, political activism, family dynamics, the ’80s, and live music. There’s injustice, deadly corporate malfeasance, a fear-mongering politician, and espionage. But also hope and strength and humor. It’s like you took The Americans, made it a DIY sci-fi with a strong social conscience, and set it to a Black Flag soundtrack. I’m in.

The throughline of what could otherwise be way too much in one show is Hunken’s quest: to go back in time to a crossroads in her mother’s progressive young life and put her on a path that saves her from becoming the fearful, grief-stricken, Fox News watcher she has become. She wants her to be happy and free from media-sponsored distress. Hunken takes us back to the ’80s, after a family tragedy leaves her mother vulnerable and struggling, and imagines an alternate path through the Cold War years; one in which her mom embraces the unknown and finds unexpected friendships and opportunities that keep her from folding inward to the uneasy comfort of conservatism.

Hunken weaves together multiple storylines and characters in her ambitious solo show and it almost comes together without a hitch. Hunken is impressively talented and I love all the ingredients she is using, as well as the central theatrical conceit of the piece, but it feels like it needs a wee bit more time in the oven. I still 100% recommend going to see Mt. Rushmore at the Fringe this weekend, though. I suspect that each performance this week has brought this recipe that much closer to done.

Mt. Rushmore was written and is performed by Monica Hunken. Music Arrangement is by Phil Andrews, who also plays upright bass, guitar, and drums in the show. The show’s dramaturg is Phillip Santos Schaffer and its playwriting consultant is Winter Miller.

Running Time: 60 minutes, with no intermission.

The final remaining performance of Mt. Rushmore is on November 11 at 5:00 pm at the Charm City Fringe Festival, MAP – 218 West Saratoga Street, Baltimore, MD. For tickets, purchase them at the venue or online.

PS: When she asks you to name a favorite female ’80s badass, give her the Kims for me (Deal and Gordon). I can’t believe I didn’t include them.

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Listening to Katherine Fahey recount personal memories, ghost stories, and a lovely tale about Baltimore’s arabbers while grouped around The Lantern Sisters’ gorgeously adorned crankie box, feels as intimate as huddling around a campfire with friends. Fahey, who has been creating and performing crankie shows since 2011, is renowned as the “Jane Appleseed” of the modern resurgence of this traditional folk art. This weekend, you can enjoy her enthusiasm and expertise at Crankie Cabaret at the Seventh Annual Charm City Fringe Festival.

A crankie is a storytelling medium in which a long scroll is illustrated and wound onto spools. The spools are placed at opposite ends of a backlit box with a viewing screen, and a hand crank is used to move the scroll from one spool to the other. As the images on the screen – intricate papercuts of street scenes, interiors, people, and nature – scroll by, a shadow puppeteer makes additional figures appear and disappear as the story dictates. It’s a magical effect. Narration and/or music accompany the images.

Crankie Cabaret consists of a number of stories and songs. My favorite, apart from the one about the arabbers who bring fresh produce to communities who need some sunshine in their bellies, is a personal story. Populating the crankie scroll with a variety of beautiful birds who memorialize different qualities that she loved about him, Fahey talks about her father, a mapmaker whose artistic precision has clearly been passed down.

Fahey is charming. Her storytelling style is sweet and conversational, more like she is sharing with you than performing for you. In Crankie Cabaret, Fahey is joined by a puppeteer, musician, and foley artist to create just the right atmosphere for her tales. Depending on which performance you see, she may be accompanied musically by Dave Huber, Corey Thuro, and/or Liz Downing and by puppeteers Valeska Populoh or Dan Van Allen.

I wouldn’t call The Lantern Sisters’ Crankie Cabaret a children’s show, but it is appropriate for both adults and kids. One of the ghost stories is a bit suspenseful, but the show is family-friendly and should be fine for all but the most spook-averse. Go check it out.

Running Time: 60 minutes, with no intermission.

The final remaining performance of Crankie Cabaret is on Sunday, November 11, at 3:00 pm at the Charm City Fringe Festival, 322 LOFT – 322 North Howard Street in Baltimore, MD. For tickets, purchase them at the venue or online.

Fall in love with crankies at the Fringe? These days, crankie festivals are popping up everywhere from Washington to Winnipeg, but Baltimore’s been feting the art form for years. The Creative Alliance will be hosting the sixth annual Baltimore Crankie Fest from January 4-6, 2019. They haven’t announced the artists yet, but Katherine Fahey has regularly participated so there’s a good chance you can see more of her work there.

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For a play about a hippo, it’s pretty dark. Forgive Us, Gustavito! is bookended by the primal howling of a grieving animal, as the audience is enveloped in a blackout. This is not to say, however, that this production by Otherland Theatre Ensemble, currently playing at the Charm City Fringe Festival in Baltimore, doesn’t have a profound sense of humor. Many audience members, including myself, seemed to have a bit of a permanent smile for the duration of the show, as even the more serious beats brought a sense of collective delight.

This satisfyingly physical production falls into the category of absurdist theater, but it manages to do so while maintaining the structure of a finely crafted noir thriller – and that dichotomy is what produces some of the more successful aspects of the production. Forgive Us, Gustavito! tells the story of a grizzled hippo detective investigating the untimely death of his saintly zoo-bound hippo brother. However, even with a surrounding cast of spider monkeys, gorillas, and other animals, Forgive Us, Gustavito! is a maelstrom of human emotion, landing upon hard truths about life, death, manipulative relationships, and the neglect of family ties. The show even touches on themes found in modern Sci-Fi productions.

Devised by Rebecca Finney, Lucius Robinson, and Tushar Mathew, who studied with Dell’Arte International, Forgive Us, Gustavito! has many gifts to give. Rebecca Finney shines as Elvira, an overdramatic spider monkey who serves as the show’s femme fatale. It’s not easy to scamper across a stage on all fours while looking glamorous, but it suits her. Tushar Mathew is lovably intense as Detective Emilio Hippo, whose guilt-driven monologues provide much of the emotional heft of the piece. Lucius Robinson is a powerful presence as Toto, a “civilized” gorilla who wears a tie and drinks hand-pressed coffee, and he is genuinely creepy as Mr. D, a shadowy figure who connects all the characters…and knows all their dark secrets.

The actors rely on voice and physicality to establish their characters as animals – there are no makeup tricks or rubber appendages. Costumes are appropriate for the genre – Elvira is adorned with a sheer white top and pleated chiffon pants that the light shines through beautifully, giving her the appearance of a sentient French marionette, and Detective Hippo is dressed in a trench coat and fedora, complete with padded stomach. The soundtrack is well chosen, and includes a few perfectly slow saxophone solos. The set is sparse – just one chair, one desk, and a couple of light poles with clamped-on bulbs.

This leads me to one of the more brilliant aspects of the piece – the lighting – which is more of a team effort, led by Sam Robinson. Along with a few bare bulbs and can lights perched in various places, the lighting is provided by the performers via flashlights and hand-held fixtures. There is spotlighting, backlighting, under lighting, even interrogation lighting, all in the actors’ hands, and sometimes dangerously close to burning their faces – which makes it all the more exciting.

Forgive Us, Gustavito! is artistic, but it is truly accessible. I might even be able to see older children enjoying it. Much of its playfulness comes from humanizing the animal characters in unique ways. As they recount memories and read snippets of old postcards, adorable details about Gustavito and his friends and family are revealed – drawing the audience in emotionally, even as more ridiculous characters and situations are introduced. It’s hard to add more detail about the plot without adding too much…so the best thing to do is let you unravel the mystery for yourself. This thoughtful and hilarious show will be well worth the trip to Charm City.

Forgive Us, Gustavito!, presented by Otherland Theatre Ensemble, plays through November 11th, 2018, at Maryland Art Place (MAP) Underground – 218 W Saratoga Street, Baltimore, MD. For tickets, go online.

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The title of BlueShift Dance’s show, “The Male Gaze,” refers to the objectification of women by cis-hetero men. The idea of the “male gaze” isn’t new to women. The premise is “what happens when ‘the male gaze’ turns to the women whom men love deeply?” 

The film is about relationships, the choreography is about communication and the dance is about trust. The title “The Male Gaze,” a phenomenon largely considered to be a negative thing, is being used “ironically,” I suppose, like wearing a pair of Hammer pants “ironically,” which is seemingly done exclusively by people under the age of 40, confusing the likes of me with an alternative definition of “irony.”

The project is this: When a man, who is not a choreographer and who loves a woman who is a dancer, creates a choreographed piece for her to perform, what happens? It seems that the process is the point, and the product is the result. The three dance pieces are well done and interesting, performed with strength and grace by all three of the women dancers, but it is the process that leads to the dance which is the really intriguing bit.

Hence the misnomer issue. This gaze is decidedly NOT the toxic, objectifying “male gaze,” but rather one of reverence and acceptance. This is the gaze of one who sees passion, perfection, perspiration- and loves all of it.

Often, what is NOT shown is as important as what IS shown, thus having a significant chunk of this artistic piece left to the viewer’s imagination adds value and increases audience engagement. Whether that was done deliberately or was simply an interesting byproduct in the performing art piece is an entertaining question with which to grapple as one travels to the next Fringe offering.

“The Male Gaze” is presented on the second floor of a building downtown that seems to have been reclaimed. There are several shiny new lighting fixtures throughout the two upper levels of the building. DCAC (as hasty signs nickname the venue) has three performance areas, all of which will be in use during the course of the Charm City Fringe Festival. I did not have the opportunity to visit the lower level, but the main floor area (where there are restrooms) appears to be a ballroom, complete with a raised stage and crystal chandeliers.

BlueShift Dance’s The Male Gaze plays through Nov 11, 2018, at the Downtown Cultural Art Center – 401 North Howard Street, Baltimore, MD 21201. Tickets can be purchased online. 

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By Kylie Miller

Fringe Festivals are a great platform for shows that push boundaries and challenge the norm. 50 Shades of Gay does exactly that. Ike Avelli, a 52-year-old single gay man, is the star of this show. He traveled from New York City to perform at Charm City Fringe, along with his two guests, Tym Moss and Viki Villainess. This show follows a sort of cabaret style with a mix of stand-up comedy, music, stories, and videos. The musical numbers are key components of the show involving spoofs, karaoke, and lip-synching.

So much is thrown at the audience during the hour-long performance. There are pop culture references and sketches displayed through projected videos during the show. The comedy in this show can get pretty raunchy, but that is exactly what makes it so funny. Some jokes are more tasteful than others as the limits are constantly being pushed by the three performers in this show.

Ike gets to know his audience and does a great job in getting them involved in the show. Tym adds another perspective to the show and the two longtime friends have great energy together. Vicki, a professional drag queen, is the perfect final touch to the show. She brings to the table a strong attitude and charm that audiences will love.

I believe this show is different every single time it is performed. Ike and his guests switch things up and adjust to their audience. Though they may follow a certain sequence, these three performers know how to keep things interesting. Their thrill to entertain others is obvious and infectious.

50 Shades of Gay is about being unapologetically who you are. It is all about loving yourself while also being able to make fun of yourself. The audience really picks up on this message through audience participation when they end up on stage learning not to care what anyone else thinks of them.

Running Time: One hour, with no intermission.

50 Shades of Gay played through November 4, 2018, at Charm City Fringe Festival, located at 322 N Howard Street in Baltimore, MD 21201.

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Lisa Hayes brings one of her acclaimed one-woman shows to Baltimore with NURSE!, a compelling story of a labor strike from a variety of perspectives. Embodying numerous distinct characters, Hayes portrays the journey of a group of hospital nurses who stand up for better, safer conditions for themselves and the patients in their care by unionizing and going on strike. Though Hayes debuted NURSE! off-Broadway in 2003, this must-see Charm City Fringe Festival offering is as timely as if it had been written this year.

My favorite characters include Sue, the initially reluctant leader of the nursing strike; Lilly, a nurse who didn’t originally vote for the strike but who becomes radicalized by it; and Pat, a nurse and single mother who is trying to make ends meet and be a good parent despite a job with unexpected, compulsory overtime. We also get to see the strike through the eyes of others affected by it: hospital workers, management, and the families of those striking. As Jimmy, the teenage son of a striking nurse explains in a monologue that left me teary, the whole family participates in a strike; necessary sacrifices impact everyone.

Hayes does an excellent job of making her characters easily distinguishable. Simple costume variations like the addition of a jacket or a hat and the use of relevant accents create distinctions. Hayes does some impressive physical work, as well. Of particular note are the teenage energy of Jimmy, the striking nurse’s son, and the world-weary quirks of the Federal Mediator assigned to negotiate between the striking nurses and management.

Times like now, it’s important to remember that there is strength in solidarity. Lisa Hayes’s NURSE! is not only a well-acted, enjoyable show, it is the kind of reminder we need. It’s also a call to action – to value nurses and all workers who toil for the common good, to remain informed about issues such as healthcare and fair business practices, and to be engaged in the fight for social and economic justice. (PS: Please vote on Tuesday!)

Based on two years of research and interviews, NURSE! was written and is performed by Lisa Hayes. It is directed by Annie Levy and produced by Theodore Manekin.

Running Time: One hour, with no intermission.

NURSE! plays on November 7 and November 9 at 8:15 pm at the Charm City Fringe Festival’s 322 LOFT – 322 North Howard Street in Baltimore, MD. For tickets, purchase them at the venue or online.

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By Kylie Miller

The play on words of the show’s title, Un-a-parent, perfectly sets up this comedic solo show. The life experiences of Joe Minchik, the writer and performer, are both hilarious and heartfelt. He does not hesitate to share very personal information but he does so in a style that mimics stand-up comedy. Un-a-parent is all about the funny ways life can play out. Joe looks back on his life, remembering how he has always wanted to be a father. The catch is that he fell in love with someone who does not want kids.  

[How to Fringe: Everything You Need to Know]

The show is filled with anecdotes from Joe’s life that he does not just describe, he shows by recreating them on stage. Joe becomes various people in his life using distinct voices to portray his parents, his favorite teacher from high school and even a crazy woman he met on Craigslist. Though it is a solo show, these voices transform into characters that you start to recognize. He also utilizes actual items that he discusses from his life, ranging from a stuffed animal to a prayer portrait that sits on his bedside table.

Growing up Catholic and the poor example of marriage set by his parents are just two aspects of Joe’s struggle with love. He takes you on a hilarious journey through his childhood and young adulthood, until he meets the woman the show is really about. She is the only person in the show Joe talks about that he does not become. Instead of giving her a voice and creating a character for her on stage, Joe summarizes her words in any story he tells. This was a strong choice and created a beautiful understanding of what she means to Joe.

[A complete lineup of shows at the 2018 Charm City Fringe Festival]

Though the story is not told chronologically, it is written so that information is shared at exactly the right moment. Joe does a great job at connecting all parts of his story which keeps audiences engaged. Un-a-parent is deeply personal, which is what makes it relatable. The comedy is effective because of how honest Joe is willing to be. He does such a fantastic job connecting with his audience that by the end, you feel as if you have made a new friend.

Running Time: One hour with no intermission.

Un-a-parent plays select days through November 9th at the Charm City Fringe Festival – 322 North Howard Street Baltimore, MD, For tickets, go online.

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What is Fringe?

Today begins the Seventh Annual Charm City Fringe Festival, a celebration of new and emerging independent theatre that will continue through November 11th. The festival offers 22 shows, plus a host of after-hours fun.

The Fringe is an opportunity to see new and exciting performances you may not be able to catch anywhere else, all presented in the Bromo Arts District, with all venues within walking distance of each other. In fact, part of the fun of the Fringe is how walkable it is.

[The complete lineup of 2018 Capital Fringe Shows]

When you finish watching one performance, you can take a short stroll and watch the next must-see on your list. Alternately, you can just park yourself at one venue and see all the shows on offer each evening. Have a break between shows? Head to Fringe Headquarters at Mt. Vernon Marketplace. In addition to the Festival Box Office, Mt. Vernon Marketplace houses a bunch of great eateries – several of which offer food and drink discounts with your fringe button.

How to Fringe

In order to attend Fringe shows, you must purchase a $5 Fringe Button. One button will last you for the whole festival; just be sure to have it on you whenever you are heading to a show. You additionally will need to buy tickets to the shows you want to see, which run only $10 a piece. Or you can buy multi-show ticket passes, which include a festival button: a three show pass is $30, a five show pass is $45 and an All Access pass is $98 and gets you a guaranteed seat at any of the 22 shows in the festival, plus admission to Fringe After Dark afterparty shows, rehearsals, tech, and more. It’s a sweet deal if you plan to see a lot of shows. There is also a Date Night pass – two tickets to two shows plus two fringe buttons for $40.

The reason you need to get a button AND a ticket to see a show, by the way, is that most-to-all of the money you pay for the show ticket goes directly to the performers. The five bucks from the button sales is what goes to the Fringe itself, to help with administrative expenses. Needless to say, the Fringe is by-and-large a volunteer endeavor.

The Fringe is also a juried affair. At the free Closing Party on November 11, awards will be bestowed on performers and shows who have particularly wowed the panel of judges.

For a full listing of shows on offer, check out the DCMTA Quick Guide to 2018 Charm City Fringe Shows. To purchase tickets, go straight to the source at the Fringe Box Office.

Fringe After Dark

There is also a series of festival after parties for your fringetastic enjoyment. The festival button is not required to attend Fringe After Dark events (but donations are welcome). These include opening and closing parties, comedy, a Broadway Live party with Baltimore’s own CJay Philip, art installations, music, and more.

The Charm City Fringe team is proud of this year’s festival. Fringe Board Member and Communications Chair Cassandra Miller says, “We’re very excited about this year’s festival. Each year we get more and more support from the city of Baltimore, both from its businesses and organizations and from residents who come out to see the shows. Fringe has been a platform for artists to develop and showcase their talents, and we’re proud to be supporting creatives from both Baltimore and beyond in the festival in the outstanding Bromo Arts District.”

Running Times: Shows vary from approximately 45 to 75 minutes. Parties and Fringe After Dark events run longer.

The Charm City Fringe Festival plays through November 11, with performances and events at the venues listed below. For buttons and tickets, purchase them at the door or online.

• 322 LOFT, 322 North Howard Street, Baltimore, MD 21201
• 322 STAGE, 322 North Howard Street, Baltimore, MD 21201
• DCAC LOUNGE, 401 North Howard Street, Baltimore, MD 21201
• DCAC STAGE, 401 North Howard Street, Baltimore, MD 21201
• DCAC TOP, 401 North Howard Street, Baltimore, MD 21201
• MAP UNDERGROUND, 218 West Saratoga Street, Baltimore, MD 21201
• FRINGE HQ: MT VERNON MARKETPLACE, 520 Park Avenue, Baltimore, MD 21201

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The Seventh Annual Charm City Fringe Festival is taking place in the Bromo Arts District from November 1 through November 11, 2018. Here’s a listing of all the shows. Get fringing!

Fringe Shows with Descriptions, Dates, and Times

Wunderkammer
In a snowy tundra, a lonely taxidermist “buys” a child with a mysterious talent. Wunderkammer, a drama with a cast of ten, is a dark fable with haunting acapella music, unconventional humor, and surprisingly destructive puppets. Venue: 322 N Howard St, Baltimore, MD 21201
Friday, Nov. 2, 2018 – 7:00pm to 8:00pm
Sunday, Nov. 4, 2018 – 7:00pm to 8:00pm
Friday, Nov. 9, 2018 – 10:30pm to 11:30pm
Saturday, Nov. 10, 2018 – 7:00pm to 8:00pm

un-a-parent
A painfully honest solo comedy about falling for your opposite. After sixteen years of Catholic school, fending off his nun-aunt’s petitions to become a priest, and undergoing testicular surgery to improve an apparently ailing sperm count, Joe wants to be a dad. And then he falls for a girl who doesn’t want kids. Venue: 322 N Howard St, Baltimore, MD 21201
Friday, Nov. 2, 2018 – 8:15pm to 9:15pm
Sunday, Nov. 4, 2018 – 3:00pm to 4:00pm
Friday, Nov. 9, 2018 – 10:00pm to 11:00pm
Saturday, Nov. 10, 2018 – 8:15pm to 9:15pm

BOUXSCAL Productions: BUILDING YOUR EMOTIONAL HOME with DAVID MARK DAVIDS
Building Your Emotional Home with David Mark Davids is the newest program by the renowned and award-winning motivational speaker/psychic medium, David Mark Davids. Live cold reading and audience participation make this original production by Baltimore-based theater artist Alexander Scally a unique and immersive experience that explores life, liberty, and self-actualization. Venue: 322 N Howard St, Baltimore, MD 21201
Friday, Nov. 2, 2018 – 8:45pm to 9:45pm
Saturday, Nov. 3, 2018 – 7:00pm to 8:00pm
Saturday, Nov. 10, 2018 – 8:45pm to 9:45pm
Sunday, Nov. 11, 2018 – 1:30pm to 2:30pm

Ike Avelli: 50 Shades of Gay
An adult variety show, packed with comedy, music, drag, wigs, costumes, audience participation, giveaways and more! Written, produced and starring Get Out Magazine’s LGBT Comedian of the Year Ike Avelli, with special guests recording artist Tym Moss and drag superstar Viki Villainess. Venue: 322 N Howard St, Baltimore, MD 21201
Friday, Nov. 2, 2018 – 10:00pm to 11:00pm
Saturday, Nov. 3, 2018 – 9:00pm to 10:00pm
Sunday, Nov. 4, 2018 – 1:15pm to 2:15pm

Beaver Dreams (La Fièvre du Castor)
A schtick to sink your teeth into. Multi-award winner at the London, Victoria and Montréal Fringe Festivals, Beaver Dreams explores generation after generation of beavers sharing the same land, the same lake, and the same commercial development threatening their corner of paradise in Quebec, Canada. Get wet at the best dam show of Fringe. Venue: 322 N Howard St, Baltimore, MD 21201
Saturday, Nov. 3, 2018 – 1:30pm to 2:30pm
Saturday, Nov. 3, 2018 – 8:45pm to 9:45pm
Sunday, Nov. 4, 2018 – 3:15pm to 4:15pm
Thursday, Nov. 8, 2018 – 7:00pm to 8:00pm

The Siegfried Olsson Band: Too Hip for the Room
The Siegfried Olsson Band (which is not technically a band) leaps off of their YouTube Channel and onto the stage of the Charm City Fringe. Too Hip for the Room features sketches about the pros and cons of public nudity, anti-semitic chicken and Mormon porn. Embrace the laughter. Venue: 322 N Howard St, Baltimore, MD 21201
Saturday, Nov. 3, 2018 – 3:15pm to 4:15pm
Monday, Nov. 5, 2018 – 8:00pm to 9:00pm
Wednesday, Nov. 7, 2018 – 8:45pm to 9:45pm
Saturday, Nov. 10, 2018 – 3:15pm to 4:15pm

Lisa Hayes: Nurse!
Fed up with forced overtime and unsafe conditions, the nurses of St. Mary’s are walking out on strike. Nursing moves from the bedside to the bargaining table and from the headlines to the picket lines in this highly acclaimed one-woman show. Venue: 322 N Howard St, Baltimore, MD 21201
Saturday, Nov. 3, 2018 – 4:45pm to 5:45pm
Sunday, Nov. 4, 2018 – 6:30pm to 7:30pm
Wednesday, Nov. 7, 2018 – 8:15pm to 9:15pm
Friday, Nov. 9, 2018 – 8:15pm to 9:15pm

A Lesbian Belle Tells…
Settle back and hear true stories about growing up in Mississippi, coming out in DC, experiencing family estrangement, and finding love and belonging. This award-winning solo show has captivating comedy and triumph over tragedy, told from the comfort of a rocking chair, as only a lesbian belle can tell. Venue: 322 N Howard St, Baltimore, MD 21201
Saturday, Nov. 3, 2018 – 5:00pm to 6:00pm
Sunday, Nov. 4, 2018 – 5:00pm to 6:00pm
Friday, Nov. 9, 2018 – 8:45pm to 9:45pm
Sunday, Nov. 11, 2018 – 5:00pm to 6:00pm

The Lantern Sisters: CRANKIE CABARET
Gather round for a collection of both comedic and haunting folk stories by Katherine Fahey from the swamps of Louisiana to the streets of Baltimore as intricate paper cut scenes scroll by and shadowy figures appear and disappear in shadow puppet crankies. Hear about fruit-peddling arabbers, birds that carry memories, and other magical stories. Venue: 322 N Howard St, Baltimore, MD 21201
Saturday, Nov. 3, 2018 – 6:30pm to 7:30pm
Sunday, Nov. 4, 2018 – 4:45pm to 5:45pm
Saturday, Nov. 10, 2018 – 3:00pm to 4:00pm
Sunday, Nov. 11, 2018 – 3:00pm to 4:00pm

BlueShift Dance: The Male Gaze
What happens to the “male gaze,” the depiction of women as sexual objects for the pleasure of the male viewer, when it is directed at a woman the man loves deeply? Watch as dancers perform works created for them and about them by the men who love them. Venue: Downtown Cultural Arts Center, 401 N Howard St, Baltimore, MD 21201
Wednesday, Nov. 7, 2018 – 7:00pm to 8:00pm
Thursday, Nov. 8, 2018 – 7:00pm to 8:00pm
Saturday, Nov. 10, 2018 – 6:30pm to 7:30pm
Sunday, Nov. 11, 2018 – 3:00pm to 4:00pm

Black Dog
Trying to prove something to herself, Angelica brings home a litter of newborn puppies from the humane society. As Angelica, her husband Max, and her sister Lucy stay up to try and save them, they are forced to confront the inevitable future and the things they cannot change. Venue: Downtown Cultural Arts Center, 401 N Howard St, Baltimore, MD 21201
Wednesday, Nov. 7, 2018 – 7:30pm to 8:30pm
Friday, Nov. 9, 2018 – 9:15pm to 10:15pm
Saturday, Nov. 10, 2018 – 7:30pm to 8:30pm
Sunday, Nov. 11, 2018 – 5:45pm to 6:45pm

Proxy
Kassa is dying. Again is becoming. Kai and Rennek are stuck somewhere in between. “Proxy” tells the story of a terminally ill woman, her robotic counterpart, and the decision that sparks a war between the two people closest to her. When we die, who cares for those we leave behind? Venue: Downtown Cultural Arts Center, 401 N Howard St, Baltimore, MD 21201
Wednesday, Nov. 7, 2018 – 8:00pm to 9:00pm
Friday, Nov. 9, 2018 – 8:00pm to 9:00pm
Saturday, Nov. 10, 2018 – 4:30pm to 5:30pm
Sunday, Nov. 11, 2018 – 4:30pm to 5:30pm

Forgive Us, Gustavito!
Gustavito, the solitary hippo of the National Zoo, was found dead this morning from 15 stab wounds to the snout. The Attorney General has launched an investigation but the conspiracy behind Gustavito’s murder continues to pull the strings. A story that is equal parts classic noir and outrageous animal madness. Venue: MAP, 218 West Saratoga St, Baltimore, MD 21201
Wednesday, Nov. 7, 2018 – 8:45pm to 9:45pm
Friday, Nov. 9, 2018 – 10:30pm to 11:30pm
Saturday, Nov. 10, 2018 – 5:00pm to 6:00pm
Saturday, Nov. 10, 2018 – 8:45pm to 9:45pm
Sunday, Nov. 11, 2018 – 3:15pm to 4:15pm

Three Princes Theatre: the end of things.
Intermixing monologue, vignette, and image-based movement, the end of things explores relationships at their point of expiration. Marriages crumble. Bodies decay. And a potentially apocalyptic threat to the planet looms unseen above it all. A world premiere from Three Princes Theatre, a company for intentional, bold, and uninhibited voices. Venue: Downtown Cultural Arts Center, 401 N Howard St, Baltimore, MD 21201
Wednesday, Nov. 7, 2018 – 8:45pm to 9:45pm
Friday, Nov. 9, 2018 – 10:00pm to 11:00pm
Saturday, Nov. 10, 2018 – 8:15pm to 9:15pm
Sunday, Nov. 11, 2018 – 1:15pm to 2:15pm

Monica Hunken: Mt Rushmore
This one-woman show explores one American woman with a fantastical imaginary life trajectory in the 1980s in the throes of the rebellious Reagan ere. “Mt. Rushmore” is an adventure with espionage, humor, unexpected friendship and second chances, filled with live music and karaoke. Venue: MAP, 218 West Saratoga St, Baltimore, MD 21201
Thursday, Nov. 8, 2018 – 7:00pm to 8:00pm
Friday, Nov. 9, 2018 – 8:45pm to 9:45pm
Saturday, Nov. 10, 2018 – 7:00pm to 8:00pm
Sunday, Nov. 11, 2018 – 5:00pm to 6:00pm

Ballet Theater of Maryland: Edges and Dimensions of Dance
Experience a diversity of dance styles with Ballet Theatre of Maryland: the passion of Flamenco rhythms, an American southwest Carmen, the power of convergence set to minimalist guitar score, and poignant emotions evoked by contemporary dance. Venue: Downtown Cultural Arts Center, 401 N Howard St, Baltimore, MD 21201
Thursday, Nov. 8, 2018 – 7:30pm to 8:30pm
Saturday, Nov. 10, 2018 – 4:00pm to 5:00pm
Saturday, Nov. 10, 2018 – 9:15pm to 10:15pm
Sunday, Nov. 11, 2018 – 2:15pm to 3:15pm

Arielle Conversi: Problem Child
An autobiographical one-person show about how sometimes the worst kids grow up to be the okay-est people. Hear how Arielle Conversi got through fights, tantrums and crushes on serial killers to become a mostly functioning adult. Venue: Downtown Cultural Arts Center, 401 N Howard St, Baltimore, MD 21201
Thursday, Nov. 8, 2018 – 8:00pm to 9:00pm
Friday, Nov. 9, 2018 – 9:45pm to 10:45pm
Saturday, Nov. 10, 2018 – 6:15pm to 7:15pm
Sunday, Nov. 11, 2018 – 2:45pm to 3:45pm

FALKLAND – The War The World Forgot
Two unlikely friends find camaraderie against a backdrop of bitter conflict during the Falklands War of 1982. Inspired by real events, this is the extraordinary story of the ordinary people of a tiny island at the bottom of South America, the 10-and-a-half week war the world forgot, and the inhabitants whose lives were forever changed by the decisions of political leaders a world away. A traumatic but necessary journey through the lives of two men, their families and the many twists and turns on the road to redemption. Venue: Downtown Cultural Arts Center, 401 N Howard St, Baltimore, MD 21201
Thursday, Nov. 8, 2018 – 8:45pm to 9:45pm
Friday, Nov. 9, 2018 – 8:15pm to 9:15pm
Saturday, Nov. 10, 2018 – 4:45pm to 5:45pm
Sunday, Nov. 11, 2018 – 4:45pm to 5:45pm

Hillary Clinton’s Song Cycle: Witness
Meet the Hillary Clinton you never knew: sassy, sarcastic, and uncensored! This feminist cabaret show imagines Hillary’s turbulent inner world just after her shocking 2016 presidential campaign defeat. Follow Hillary as she abandons, and ultimately regains, hope. Special guests: Kirsten Gillibrand, Hillary’s deceased mother Dorothy, and a Russian troll. Catharsis guaranteed. Pantsuit optional. Venue: MAP, 218 West Saratoga St, Baltimore, MD 21201
Thursday, Nov. 8, 2018 – 8:45pm to 9:45pm
Friday, Nov. 9, 2018 – 7:00pm to 8:00pm
Saturday, Nov. 10, 2018 – 3:15pm to 4:15pm
Sunday, Nov. 11, 2018 – 1:30pm to 2:30pm

Tara Lake Presents I Know It Was the Blood: The Totally True Adventures of a Newfangled Black Woman
Actress, soprano, and storyteller Tara Lake takes audiences on a coming-of-age journey into the world of African-American Jersey girlhood in the 1980s and ’90s – a world steeped in family Sundays, church conventions, and extravagant reunions, weddings, and funerals. Join this unforgettable performance of soul-rich storytelling, theater, song, and poetry. Venue: 322 N Howard St, Baltimore, MD 21201
Thursday, Nov. 8, 2018 – 8:45pm to 9:45pm
Friday, Nov. 9, 2018 – 7:00pm to 8:00pm
Saturday, Nov. 10, 2018 – 5:00pm to 6:00pm
Sunday, Nov. 11, 2018 – 3:15pm to 4:15pm

Big Empty Barn Productions: 33(a kabarett)
fA tribute to French and German cabaret during the Nazi years of the late 1930s. New Orleans-based performer Bremner Duthie, with his shaved head, haunted face and delicate baritone, presents a story within a cabaret set while a nation falls apart outside. Venue: Downtown Cultural Arts Center, 401 N Howard St, Baltimore, MD 21201
Thursday, Nov. 8, 2018 – 9:15pm to 10:15pm
Friday, Nov. 9, 2018 – 7:30pm to 8:30pm
Saturday, Nov. 10, 2018 – 5:45pm to 6:45pm
Sunday, Nov. 11, 2018 – 4:00pm to 5:00pm

Lights, Theatre, Action!: Black Confederates
By March of 1865, the Confederacy is exhausted. Conscription and drafts have every Southern White Male from 17 to 50 already in uniform. Now, only one final source of strength is left in Dixieland, African-Americans numbering in the millions. With the urgent blessing of General Lee, President Davis issues the call to arms. So who answers? Who were these men who became the Black Confederates? Venue: 322 N Howard St, Baltimore, MD 21201
Saturday, Nov. 10, 2018 – 1:15pm to 2:15pm
Saturday, Nov. 10, 2018 – 6:30pm to 7:30pm
Sunday, Nov. 11, 2018 – 1:15pm to 2:15pm
Sunday, Nov. 11, 2018 – 4:45pm to 5:45pm

For more information and to purchase tickets, check out the Charm City Fringe website.

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