Entertainment
See Edinburgh Fringe without leaving L.A.: Where local comics are testing their festival acts
Around 11 a.m. on a recent Saturday, the first of five work-in-progress comedy shows began to unfold onstage at the Elysian Theater. The audience was encouraged to provide feedback. And between the five hourlong productions, bagpipe music filled the Echo Park space.
For performers Sarina Freda, Natasha Mercado, Charlie James, Miles Woods and Griffin Kelly, this “Edinburgh Fringe Percolator” was a chance to test material before they journey to the famed Fringe festival in August. For Los Angeles audiences, it’s an opportunity to experience the Fringe without actually traveling to Scotland.
The annual Edinburgh Festival Fringe is billed as the largest performing arts gathering on Earth, with tens of thousands of performances held in about 250 venues across the entire month. Before the talent arrives for the spotlights, they’re often refining their work — in L.A., that’s in places such as the Comedy Store in Hollywood, the nearby Kookaburra Lounge in the Ovation complex or the Lyric Hyperion in Silver Lake.
Griffin Kelly workshops the production of “Two Cats on a Date” at Elysian Theater.
(Chris Ungco)
The 2-year-old Elysian Theater is trying to establish itself as an Edinburgh artists community, a spot to share ideas, via its Frogtown home and its Facebook group. The nonprofit is hosting Edinburgh run-throughs of Rachel Kaly’s mental-illness-minded “Hospital Hour” on July 15 and “Demi Adejuyigbe Is Going to Do One (1) Backflip” on July 14 and 16. Natalie Palamides is scheduled to perform her Edinburgh-bound “Weer” five times this month. “Avital Ash Workshops Her Suicide Note,” part of the 2023 Fringe, gets revived by Ash on Tuesday.
Toni Nagy presented “Grape Culture” with Sarah Buckner five times at the unrelated Hollywood Fringe Festival in June in preparation for her Edinburgh debut. Nagy will have a second title in next month’s festival, the cathartic parenting journey “Go to Your Womb,” in which she stars with her daughter, Adelia Aldrich.
“I’ve had to take an unconventional approach to my career because everything I make tends to push against the status quo,” Nagy said. “Bringing two shows to my virgin Edinburgh Fringe may seem like a bold move, but … they complement each other thematically, and if I can get through rehearsing and performing with my 13-year-old daughter, I can do anything.”
Toni Nagy’s “Grape Culture” performed during the Hollywood Fringe Festival in preparation for Edinburgh.
(Aletheia Lane)
Jay Light’s vagabond “Wrong! A Dark Comedy Game Show” started at Alamo Drafthouse in Los Angeles and went on to tour in New York, Chicago and Austin, Texas, before settling in the Comedy Store in October. Three comics compete in committing “cancel-able offenses” and making “questionable decisions” in the show, which plays July 22 in the Comedy Store’s Belly Room before it moves to Edinburgh.
At the Ovation complex, formerly known as Hollywood & Highland, Fielding Edlow’s “Gaslighting Is My Love Language” promises “a brutally honest, unapologetically explicit, and immensely entertaining hour of comedy” July 25 in the Kookaburra Lounge.
A crop of Edinburgh shows also in previewing at the Lyric Hyperion, including Natasha Mercado’s “#1 Son” on Saturday, Milanka Brooks’ “Mum and I Don’t Talk Anymore” on Monday, Kym Priess’ “Loser Lion Party Bus” and Jackie Skinner’s “Beautiful Night” on Tuesday, Catherine McCafferty’s “(Not) That Bad” on Wednesday and Alex Kern’s “Thank You So Much for Coming” July 13.
Kyle Ayers brings his “Hard to Say” back to the Lyric Hyperion on July 22. The show centers on Ayers’ trigeminal neuralgia, a chronic pain disorder, so the comedian’s goals in Edinburgh feel as personal as they are professional.
“I’m most looking forward to just the supreme chaos of it all,” Ayers said. “I will be well outside of my comfort zone. It’s unlike anything I’ve ever done before, and I am trying to embrace that aspect. I want to see shows I never thought I’d see, meet people I never figured I’d meet, and perform for people who otherwise may never see my show.”
The Elysian runs workshops and discussions for confirmed Edinburgh talent and the “Fringe-curious” alike. “Opening night is important,” Kelly cautioned at one Saturday session, noting that early reviews carry weight. But the pressure persists, as comedy gatekeepers and tastemakers can pop up at any point in the marathon of nightly sets.
Naked Comedy producer Sam Varela said one trend is crowdfunding. “This year everyone is just more broke,” she says, citing the Hollywood labor strikes and dearth of jobs.
So much time and effort goes into making an Edinburgh show a success. For L.A. audiences, previewing the work provides a glimpse of that process.
“The first time I did Fringe, it really made me appreciate and understand the DIY comedy approach that has exploded in the last few years,” Light says, noting the collective development that was required to get his show to the stage, “It took two years to make it good enough in front of a crowd as it was on paper.”
PopHorror had the chance to check out Anacoreta (2022) ahead of its streaming release! Does this meta-horror flick provide interesting story telling or is it a confusing mess.
Let’s have a look…
Synopsis
A group of friends heads to a secluded woodland cabin for a weekend getaway, planning to film an experimental horror movie. As the shoot progresses, the project begins to fall apart—until a real and terrifying presence emerges from the darkness.
Anacoreta is directed by Jeremy Schuetze. It was written by Jeremy Schuetze and Matt Visser. The film stars Antonia Thomas (Bagman 2024), Jesse Stanley (Raf 2019), Jeremy Schuetze (Jennifer’s Body 2009), and Matt Visser (A Lot Like Christmas 2021)
My Thoughts
Antonia Thomas delivered an outstanding performance as the female lead in Anacoreta. It was remarkable to watch her convey such a wide range of emotions with authenticity and depth. I was continually impressed by her ability to switch seamlessly between different dialects. I absolutely loved her delivery of the dialogue of telling The Scorpion and the Frog fable.
Anacoreta employs a distinctive, meta-horror style of storytelling. The narrative follows a group of friends creating a “scripted reality” horror film, and as the plot unfolds, the boundary between their staged production and their actual lives becomes increasingly blurred. This was interesting, but at the same time frustrating as a viewer.
Check out Anacoreta on Prime Video and let us know your thoughts!
Todd Meadows, a crewmember on one of the fishing vessels featured on the long-running reality series “Deadliest Catch,” has died. He was 25.
Rick Shelford, the captain of the Aleutian Lady, announced in a Monday post on Facebook and Instagram that Meadows died Feb. 25. He called it “the most tragic day in the history of the Aleutian Lady on the Bering Sea.”
“We lost our brother,” Shelford wrote in his lengthy tribute. “Todd was the newest member of our crew, he quickly became family. His love for fishing and his strong work ethic earned everyone’s respect right away. His smile was contagious, and the sound of his laughter coming up the wheelhouse stairs or over the deck hailer is something we will carry with us always.
“He worked hard, loved deeply, and brought joy to those around him,” he added. “Todd will forever be part of this boat, this crew, and this brotherhood. Though we lost him far too soon, his legacy will live on through his children and in every memory we carry of him.”
A fundraiser set up in Meadows’ name described the deckhand from Montesano, Wash., as a father to “three amazing little boys” who died “while doing what he loved — crabbing out on Alaskan waters.”
According to the Associated Press, Meadows died after he was reported to have fallen overboard around 170 miles north of Dutch Harbor, Alaska.
“He was recovered unresponsive by the crew approximately ten minutes later,” Chief Petty Officer Travis Magee, a spokesperson with the Coast Guard’s Arctic District, told the AP. The Coast Guard is investigating the incident.
Meadows was a first-year cast member of “Deadliest Catch,” the Discovery Channel reality series that follows crab fishermen navigating the perilous winds and waves of the Bering Sea during the Alaskan king crab and snow crab fishing seasons. The show debuted in 2005. No episodes from Meadows’ season has aired.
Deadline reported that the show was in production on its 22nd season when the incident occurred, with the Shelford-led Aleutian Lady being the last of the vessels still out at sea at the time. Production has subsequently concluded, per the outlet.
“We are deeply saddened by the tragic passing of Todd Meadows,” a Discovery Channel spokesperson said in a statement that has been widely circulated. “This is a devastating loss, and our hearts are with his loved ones, his crewmates, and the entire fishing community during this incredibly difficult time.”
Meadows is the latest among “Deadliest Catch” cast members who have died. Previous deaths include Phil Harris, a captain of one of the ships featured on the show, who died after suffering a stroke while filming the show’s sixth season in 2010. Todd Kochutin, a crew member of the Patricia Lee, died in 2021 from injuries he sustained while aboard the fishing vessel, according to an obituary. Other cast members have died from substance abuse or natural causes.
“So it’s like Avatar?” one character quips in Disney and Pixar’s “Hoppers,” bluntly translating the film’s high-concept premise for the sugar-fueled kids in the audience. And yes, the comparison is apt. The story follows a nature-obsessed teenage girl who manages to quite literally “hop” her consciousness into the body of a robotic beaver in order to spark an animal rebellion against a greedy mayor determined to bulldoze their forest for a freeway.
It’s a clever hook. The kind of big, elastic idea Pixar used to make look effortless. “Hoppers” does not reach the rarified air of “Up,” “Wall-E,” or “Inside Out,” but after a stretch of uneven originals like “Turning Red” and “Luca,” and outright misfires such as “Elemental” and “Elio,” this feels like a genuine course correction. The environmental messaging is clear without being preachy, the animals are irresistibly anthropomorphized, and the studio’s once-signature emotional sincerity is back in sturdy form.
Pixar can afford to gamble on originals when it has a guaranteed cash cow like this summer’s “Toy Story 5” waiting in the wings, but “Hoppers” earns its place in the catalogue. Director Daniel Chong crafts a warm, heartfelt film that occasionally strains under the weight of its own ambition, yet remains grounded by character and theme. Its meditation on conservation and animal displacement feels timely in a way that never tips into after-school-special territory.
We meet Mabel, voiced with bright conviction by Piper Curda, as a child liberating her classroom pets and returning them to the wild. Her moral compass is shaped by her grandmother, voiced by Karen Huie, who imparts wisdom about nature’s sanctity. True to both Pixar tradition and the broader Disney playbook, this beacon of guidance does not survive past the opening act. Loss, after all, is Pixar’s favorite inciting incident.
Years later, Mabel is still fighting the good fight, squaring off against the smarmy Mayor Jerry, voiced with slick menace by Jon Hamm. He plans to flatten the glade where Mabel and her grandmother once found solace. Mabel’s resistance feels noble but futile. The animals have already mysteriously vanished, the machinery is coming, and her last-ditch plan involves luring a beaver back to the abandoned forest in hopes of jumpstarting the ecosystem.
That’s when the film gleefully pivots into mad-scientist territory. At Beaverton University, Mabel discovers her professor, voiced by Kathy Najimy, has developed a device that can project human consciousness into synthetic animals. The process, dubbed “hopping,” allows Mabel to inhabit a robotic beaver and infiltrate the forest from within. It’s an inspired escalation that keeps the film buoyant even when the plotting grows predictable.
Her new posse includes King George, a lovably beaver voiced by Bobby Moynihan with distinct Bing Bong energy; a sharp-tongued bear voiced by Melissa Villaseñor; a regal bird king voiced by the late Isiah Whitlock Jr.; and a fish queen voiced by Ego Nwodim. As is often the case with Pixar, even in its lesser efforts, the world-building is meticulous. The animal hierarchy, complete with titles like “paw of the king,” is layered with jokes that play for kids while slyly winking at adults.
The plot ultimately follows a familiar template. Scrappy underdog rallies community. Corporate villain twirls metaphorical mustache. Emotional third-act sacrifice looms. At times, you can feel the machinery working a little too cleanly. Pixar, and Disney at large, has grown increasingly reliant on sequels and established IP, and “Hoppers” does not radically reinvent the wheel. In an animated landscape where films like “K-Pop: Demon Hunters,” “Across the Spider-Verse,” and “Goat” are pushing stylistic and narrative boundaries, being safe and sturdy may not always be enough.
And yet, there is something refreshing about a Pixar original that remembers how to tug at the heart without squeezing it dry. “Hoppers” is playful, peppered with cheeky needle drops, and builds to a sweet emotional catharsis that may or may not have left this critic a little misty-eyed. It feels earnest and engaged.
“Hoppers” may not be top-tier Pixar. But it is a welcome return to form, a reminder that the studio still knows how to marry big ideas with a bigger heart.
HOPPERS opens in theaters Friday, March 6th.
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