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Defender Picks



August 20th

Captain Blood

Prytania Theatre, 10AM

Classic swashbucklin' flick starring Errol Flynn


Zulu Annual Sonny "Jim" Poole Picnic

City Park, 10AM

Contests for coconuts, BBQ, umbrellas, t-shirts, golf shirts and more


Love Letters

Little Gem Saloon, 5PM

Play about first loves and second chances


New Moon Women's Circle

Rosalie Apothecary, 6PM

Special solar eclipse themed circle


RC and the Gritz

One Eyed Jacks, 9PM

Erykah Badu's band, plus Khris Royal


The Max Tribe

Gasa Gasa, 9PM

Feat. Gools, Killer Dale, Jack Rabbit


Stripped into Submission

Hi-Ho Lunge, 10PM

Kink-themed burlesque 


August 21st

Solar Eclipse Paddle

Canoe and Trail Adventures, 10:30AM

Explore the swamps and bayou during the eclipse


Energy Clearing Class

Swan River Yoga Mandir, 7:30PM

Solar eclipse reiki course to clear your self


Monday Night Massacre

Rare Form, 8PM

Feat. Phantom of Paradise and Cannibal The Musical


Betty Who

Republic NOLA, 9PM

90's tinged Aussie artist, feat. Geographer



The New Movement, 9:30PM

Battle of the funniest 


Instant Opus

Hi-Ho Lounge, 10PM

Feat. Eric Bloom, Russell Batiste, David Torkanowsky, Chris Severin


August 22nd

Murder Ballads

Euclid Records, 5PM

Book signing with Dan Auerbach and Gabe Soria


DIY Fermented Foods

Rosalie Apothecary, 7PM

Fermented dairies, like kefire, yogurt, butter, buttermilk, and more


Stanton Moore Trio

Snug Harbor, 8PM

Galactic drummer's side project


Water Seed

Blue Nile, 9PM

Future funk stars


Treme Brass Band

d.b.a., 9PM

See the legendary band on their home turf


Rebirth Brass Band

Maple Leaf, 10PM

2 sets by the Grammy-winning brass band


Smoking Time Jazz Club

Spotted Cat, 10PM

Trad jazz masters



August 23rd

Wine Down Wednesdays

New Orleans Jazz Museum, 6:30PM

Free yogalates at the Mint


The Heart of Herbalism

Rosalie Apothecary, 7PM

Syrups and immune health


Trapper Keeper

Side Bar, 8:30PM

Local improv music duo, feat. Dr. Jeff Albert



Bar Redux, 9PM

Free screening of junkie masterpiece


Chris & Tami

The New Movement, 9:30PM

TNM's founders perform weekly free show


Vixens & Vinyl

One Eyed Jacks, 10:30PM

Burlesque dance party


August 24th

Summertime Blues

Shops at Canal Place, 5:30PM

Young professionals meet-up with blues, brews, and BBQ


Architecture & Design Film Festival Kick-Off

Contemporary Arts Center, 5:30PM

Opening night party and film


Yoga Social Club

Crescent Park, 5:45PM

Get sweaty and centered


Ogden After Hours

Ogden Museum, 6PM

Feat. Sweet Olive String Band


Ambush Reggae Band

Gasa Gasa, 9PM

Local roots reggae group


Royal Teeth

Tipitina's, 9PM

Feat. Merci Raines and No True Scotsman


August 25th

Friday Nights at NOMA


Feat. The Pfister Sisters


Exotic Races

Fair Grounds, 5PM

Races feat. ostriches and camels


More Lovely and More Temperate

Valiant Theatre and Lounge, 6PM

Performance of all 154 Shakespearean sonnets


Lil' WeezyAna Fest

Champions Square, 7PM

Feat. Gucci Man, Rich the Kid, Kodie Shane, YoungBoy NBA, and Lil Wayne


Little Maker & Mr. Universe

One Eyed Jacks, 9PM

Feat. special tribute to The Band


Rocky Horror Picture Show

Prytania Theatre, 12AM

Feat. NOLA's foremost shadow cast The Well-Hung Speakers


August 26th

It's About TIME

Studio Be, 6PM

Artist conversation about oppression via symbols like the monuments


New Pride Pageant

Cafe Istanbul, 6PM

Honoring Mr & Miss New Orleans Pride 2017


New Orleans Saints vs. Houston Texans

SuperDome, 7PM

The Saints and Texans go head to head


Rick & Morty Marathon

Bar Redux, 9PM

Outdoor binge session for Dan Harmon's animated series


Swamp Motel

Gasa Gasa, 9PM

Album release party for Louisiana rockers


Vox & The Hound

One Eyed Jacks, 10PM

Pop group, feat. psych band Midriff and Naughty Palace

Fringe Singes

Reviews: Palindrome, Baghdad Puppies, Montana, Now and At the Hour, & More

The second night of Fringe bought a fresh round of premiers. NoDef was there to catch all the action and deliver a fresh round of reviews as well. Palindrome, Baghdad Puppies, Montana, Now and at the Hour, The Wake, and Professor Nakamoto's Nexus of Numbers are all tackled in this installation.


Palindrome (Zeitgeist, The Incredible Incredible)

By Phil Yiannapoulos

OC Haley’s Zeitgeist hosts Paliondrome, a wondrous mix of mime, sideshow, and live music. The show is produced by The Incredible Incredible, comprised of the two actors in the show, Justin Therrien and Matthew “Poki” McCorkle. As a veteran of the New Orleans Fringe, Poki has garnered a large following, nearly selling out the venue on the show’s opening night. Based on this initial performance, the crowds will only continue to grow.


The piece follows two characters, each the other’s imaginary friend through their first meeting. The actors do not speak. Instead they are accompanied by  solo accordion/percussion player Lucas Hicks setting the auditory rhythm of the show. Hicks' music can range from sweet Parisian love ballads, to a diminished train-wreck, to fast-paced waltzes, always both highlighting and interacting with the two actors.


As for the performing duo, they take their time from the beginning. Simple actions such as simultaneously putting on a sock, a shoe, or a suspender are performed slowly and precisely enough to be funny. As the show develops, the two start interacting with each other, amazed with the other’s presence. This exploration often takes the form of one of the two performing a trick or a dance, and the other joining, matching, and then one-upping, only for that cycle to repeat. It becomes a tour-de-force of solo sideshow that seamlessly incorporates a second into a dance of physical theatre.


A few crowd favorites were a hat-snail, some nose/mouth antics, and Poki’s signature ring. If none of these things make sense, you’re doing alright. The show, apart from just being entertaining and impressive, is an expression of the imagination. While the two never speak, their sidelong glances and smiles to one another give the audience all the character that the show needs. It’s like what a kid wishes for when he’s stuck playing in the attic on a rainy day: magic, music, and a real imaginary best friend. Definitely up there for Best of Fringe.


Baghdad Puppies (Zeitgeist, Open Space Theatre)

By Phil Yiannapoulos

Hailing from North Carolina, Open Space Theatre brings Baghdad Puppies to the Fringe. The show exists as dark exploration of the treatment of gays and women during the United States occupation of Iraq. While the show's intentions are in the right places, namely bringing to light the atrocities human rights violations taking place, the production at times lags and passes the border of offensiveness.


The play focuses on the frustration of one US soldier during his third tour in Iraq. His disgust is focused on the treatment of homosexuals, or “puppies” in the Iraqi vernacular. He and his two fellow officers are camped on one side of the stage are flanked by the Iraqi populace of the production. Notably, only two of the locals are the violent militants responsible for torture and killings; the rest are pained citizens.


The premise is fine enough, but having a mostly twenty-something, mostly white cast try to imitate Arabic accents is off-putting. Not only serving to distance the viewer from the story (suspension of disbelief is one thing — constantly being reminded that you’re seeing an attempt to be an Other is different), the accents themselves seemed to range from British to Indian to vague Middle East stereotypes.


As for characters, none are really developed, save our US military friend on stage and his two militant foils. The other characters simply come to the front of the stage and relate their own personal horror. Again, the heart is in the right place, but the impact would have been the same (read better) by showing actual news from the day. Throughout the play the same mistake is made: it tells instead of shows.


While several contradictions on both sides are literally told to you in a kind of pageant — the actors spend a lot of time facing out, quoting the projected image of senators and Iraqi leaders — the play misses two huge events whose omission, again, only serve to offend. Discussing violence, international relationships, and attitude towards gays during the occupation of Iraq, one cannot simply omit the US military’s own contradictions of "Don’t Ask Don’t Tell" and the horrors of US-led torture of Iraqi citizens in Abu Ghraib prison in 2003.


The general preachiness of the play, combined with the noted omissions and an ending that pushes the audience to feel sympathetic towards the poor, confused US soldier is, at best, describable as childish and incomplete. Yet perhaps, if you have no idea of the goings-on in Iraq and want to hear some horror stories from the gay community there, this is a show for you.


Montana (NonProphet Theatre)

By Phil Yiannapoulos

Brought by the NonProphet Theatre company, “Montana” re-presents the story of Scarface as if written by Shakespeare himself. While this sounds like a dangerously bold choice — imitating the Bard with Cuban accents — the production’s fast-paced commitment to the ludicrousness of the premise and witty Elizabethan recreations hit a grand slam, having the audience splitting at the seams.


Literally following the movie arc for arc, only three characters are played by the same actors throughout — Tony Montana, his buddy Manny, and the dame Elvira. The rest of the seemingly endless characters are played by a talented ensemble, giving us Colombian drug dealers, hit men, Tony’s family, etc. By some sort of magic (aided by costume changes, of course) these new and somewhat recurring characters are easily identifiable and don’t confuse the viewer.


As for the three main characters, nothing but kudos for the actors (with no program, names are omitted here). Elvira’s actress plays the coked-out trophy wife with poise and wit; Manny is played with best-friend faith and hilarious bluntness. And a special shout out to the actor portraying Tony Montana for never breaking the breakneck pace and keeping with the Cuban Shakespearean accented verse.


The text, written by Robert A. Mitchell, forms the main glue of the show. Written in a mix of Elizabethan vernacular and Cuban slang, with direct quotes from several of Shakespeare’s plays sliding in seamlessly, even calling Scarface himself a “foul bunch-back’d toad” (funnier still if you know some other, famous Al Pacino roles).  Even more impressive was the way the show kept hammering modern insults in the midst of the numerous thees and thous. If this seems like an easy trick that's because it is; but having it be consistently funny throughout an hour long piece speak wonders about the author’s ability for heightening, not to mention his patience.


Overall a hilarious romp through one of the classics — perhaps all of the classics. Seeing Scarface in this light really does highlight similarities with some of the Bard’s plays — the fast paced killing of Romeo and Juliet, the ambitions of Richard III, the collapse of plans in Macbeth. A rollicking good time for you — er, thee.


Now and at the Hour (Marigny Opera House)

By Andrew Mullins

Now and At the Hour is a play about time and memory through magician Christian Cagigal’s personal story about his Vietnam veteran father’s struggle with mental illness. Cagigal relates the good and the “not so good” from his childhood and experiences with his father, who immigrated from Spain while fleeing Franco. Growing up, they talked about time travel and ESP, and these conversations seeded Cagigal’s interest in magic. While his father struggled with PTSD, Cagigal would retreat to his room to practice his illusions. 


Cagigal enjoys smudging the fourth wall. He begins by setting up an hourglass that gauges the length of the show and looms behind Cagigal. He mines audience member’s thoughts to identify aspects about their memories using a viewfinder his father gave him as a child after another manic episode. The toy can look through time, his father told him. Now and at the Hour is an engaging play about how memory and time play funny tricks on each other and can help illuminate the our ideas of the people with whom we shared the good times and bad. 


Cagigal will retire Now and At the Hour after the New Orleans Fringe Festival. The play is scheduled for Friday night at 7pm, Saturday at 5pm, and Sunday at 11pm. Please check social media or the Fringe website for the location. 


Professor Nakamoto’s Nexus of Numbers (Marigny Opera House)

By Ashley Rouen

Gregg Tobo is a magical entertainer with over 30 years of experience. His one-man show, Professor Nakamoto’s Nexus of Numbers, is about patterns which are derived from the universe actually speaking to us, says Tobo. Through his ability to memorize large amounts of random of information using the Method of Loci constructing a Memory Palace in his mind, Tobo amazes and confounds with his number tricks and the technique he uses to piece it all back together in the end. 


During his performance, Tobo wearing a bow tie, and at times a blindfold of steel, reveals the mind of a mnemonist (person who can memorize large amounts of information). First he demonstrates a folding technique, calling upon the audience to pick numbers at random and writes them down on a sheet of paper in a four by four grid. Pick any three numbers on the grid, and they all add up to the same number… 98. He recalls this pattern throughout his performance interjecting bits of scientific and mathematic facts sure to excite the curious mind. 


Touching on a range of ideas and historical figures from “Synesthesia” (a person who sees sounds and hears colors) to Dante’s Inferno and Mark Paul Roget, Professor Nakamoto’s Nexus of Numbers is a show of illusion like none other. The conclusion both satisfies and excites as Tobo takes you on a journey through his memory palace. We wouldn’t want to spoil his epic mnemonic tricks but there is a knight involved in one of them you won’t want to miss.


Last night’s performance (11.20) took place at the Hi Ho Lounge in lieu of the Marigny Opera House, which was shut down by the city for being fire hazard just days before the Fringe Festival started. Since the Marigny Opera House reopened today, Tobo’s demonstration revealing the magic of patterns will be held at its original venue. 


The Wake (Old Firehouse)

By Andrew Mullins III

Ben Moraski’s The Wake is the perfect show for the introspective person blessed with a strong sense of gallow’s humor. The award winning dark comedy probes love, loss, and what we can realistically expect and demand from personal relationships. Pete, the only character, recounts his dalliance with a dead girl he ran over with his car after a warehouse party. The play-within-the-play begins as as acting workshop exercise, a paroxysm of dismay over losing one girlfriend. As Pete recounts his efforts to deal with the break up, the monologue morphs into a self-analysis of emotion and attachment. The fact that he works through these issues with the help and tenderness of a dead body is just part of the fun.


The Wake relies on subtle lines that allude to the dead girl for the audience while Pete seems absolutely delusional about the decaying state of his companion. Moraski is energetic and engaging, but has the tendency to overemphasize the “shits” and the “fucks” that overpower his otherwise shrewd and hilarious script. 

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Renard Boissiere, Evan Z.E. Hammond, Naimonu James, Wilson Koewing, J.A. Lloyd, Nina Luckman, Dead Huey Long, Joseph Santiago, Andrew Smith, Cynthia Via, Austin Yde


Art Director

Michael Weber, B.A.


Alexis Manrodt

Listings Editor

Linzi Falk

Editor Emeritus

B. E. Mintz

Editor Emeritus

Stephen Babcock

Published Daily