Tickets are $10 per show, or a five-play pass for $40. No plastic; just cash. Students are $7; children under 12 are $5. IndyFringe runs through Sunday, Aug. 29. ClubFringe, the free tent at College and Mass Ave, is open Thursday - Saturday.
SHOW REVIEWSAbracadabra: Magician Ryan Siebert is part of this year's Indy Fringe lineup (Review by Josefa Byer).
Andrea Merlyn's Book of Secrets: The magician returns, with considerably more anecdotes than last year.(Review by Jeff Cox).
Another Fifty-Five Minutes with Loren & Howard: Howard Lieberman and Loren Niemi bring their storytelling skills to the Fringe (Review by Scott Shoger).
Archy and Mehitabel: A Canadian cat and cockroach prove to be a worthy comic duo (Review by Josefa Byer).
Before Tomorrow: Stephanie Riner presents a biographical look at eight dancers' lives (Review by David Hoppe).
Bill and Erin: One Night Standards: Randomness finds its way to the Fringe stage (Review by Scott Shoger).
The Blizzard Rewind: 30 Years/30 Plays/60 Minutes: An energetic and humorous pop culture whirlwind hits the stage (Review by David Hoppe).
Boy in the Basement: A slightly smarter theatric version of American Pie, with a few breadcrumbs for the well-read theater lover (Review by Andrew Roberts).
A Brighter Shade of Blue: Memorable characters resonate in a look at the playwright's life, which includes a divorce (Review by Scott Shoger).
Deep in Love: Asante's warm demeanor is inviting and makes everything she says feel like you're sitting at a family dinner, listening to your most interesting relative tell a long story (Review by Andrew Roberts).
Do Not Kill Me, Killer Robots: Ben Egerman's post-apocalyptic tale of a comical robot rampage started with an excitable pace that turned out to be (Review by Andrew Roberts).
Don't u luv me?...: A believable script,performed believably, shows how easily we allow ourselves to become victimized and how hard it is to break the cycle of abusive behavior (Review by Rita Kohn).
Driving the Body Back: There were brief peaks of drama and intriguing Midwestern perspectives, but each time I found myself truly engaged the story jolted to a different scene (Review by Andrew Roberts).
Femoir: This one-woman series of sketches has a misleading name; it is not a memoir at all, and has no feminist undertones (Review by Andrew Roberts).
The Four Food Groups: Dancing and one man's search for his soulmate hit the Fringe stage (Review by Scott Shoger).
Down Devil's Backbone: An older man tries to balance a wife and a young girlfriend in this play by Chapter 13 Productions (Review by Jeff Cox).
Gilgamesh: Puppets of epic proportions help tell the tale of Gilgamesh (Review by David Hoppe).
Grind: The Musical: A musical set of friends deliver witty performances on the Fringe stage (Review by David Hoppe).
Hostage: Teddy bears, extortion, and skinny jeans find their way to the Fringe (Review by Josefa Byer).
Hurry Up, Jesus!: Australia: Where rooting doesn't pertain to gardening (Review by Scott Shoger).
Jesus, Shakespeare, and Lincoln Walk Into a Bar: A hippy Jesus ponders pretzels in this Fringe send-up (Review by Josefa Byer ).
Joe's Café: This warm, witty, tender,poignant program of fifteen songs cuts across the U.S.landscape to share stories of ordinary people (Review by Rita Kohn).
Lot o' Shakespeare: Shakespeare meets bingo in this Fringe production (Review by Josefa Byer).
Madwomen's Late Night Cabaret: Crisp repartee, musical interludes as double entendres, sharp costumes, unexpected visual effects and on-the-mark-comedic timing (Review by Rita Kohn).
Molly's Dead. Molly IS Dead.: One actress tackles five roles in this play about women confronting a catastrophe (Review by Josefa Byer).
The Menopause Crack-UP: Los Angeles-based Judith E.confronts The Change on the Fringe stage (Review by Scott Shoger).
Missing: The fantastical and true story of my father's disappearance and what I found when I looked for him: A woman searches for her missing father in this innovatively-structured one-woman play (Review by Jeff Cox).
Not a Peep: The masterful actors of Shadow Ape excel in three short performances (Review by Jim Poyser).
Phil the Void: Spontaneous Dumbustion: Great timing and one very special cat play important roles in this funny, fast-paced Fringe monologue (Review by Scott Shoger).
Please Don't Use My Flannel for That: Lou Sanz's brilliantly dry reading of her memoirs is a mock-monologue (mock-a-logue?) in which she recounts absurd tales of her misadventures in America, by way of Australia (Review by Andrew Roberts).
Puppets Should Speak: All remaining performances of this production have been canceled.
Ophelia's Revenge: A not-actually-dead Ophelia faces down zombies on the loose in Denmark, Verona, and Scotland (Review by Josefa Byer).
The Road to Nowhere: John Hefner brings lovable,nerdtastic adventures to Fringe audiences (Review by Scott Shoger).
A Sandcastle in the Sky: Colonialism becomes a way of life in the hands of four skilled actors traversing universal territory in a very private situation (Review by Rita Kohn).
The Screw You Revue<: Dewey Chaffee's quick-paced repartee spares no one; he's got the fastest insult in the [mid]west (Review by Rita Kohn).
Swan Balloon: A children's story that was read by a narrator sitting stationary in the middle of the stage, speaking almost exclusively in monotone (Review by Andrew Roberts).
The Tale of Mephisto: The devil is in the details... and the performance art (Review by David Hoppe).
Teen Jesus: A Tuneful Testament: John the Baptist ruminates about the adolescent Messiah (Review by David Hoppe).
They Touch in Flood: A dance piece depicting the connection between sexual desire and love (Review by Jeff Cox).
Unbearable: Forlano is a one-man circus with an uncanny resemblance to the inimitable Danny Kaye with a pinch of Charlie Chaplin, a dash of Harpo and a splash of Buster Keaton (Review by Rita Kohn).
The Women of Lockerbie: A powerful, emotion-laden script laced with humor to balance the intensity of a slice of life (Review by Rita Kohn).
You Never Know: A caring uncle is remembered as Carrie Carmichael takes a look at the past (Review by Josefa Byer).