The Fringe Festival wraps up this Sunday, and I’ve been trying to see as many shows as possible. I’m hoping to get in a couple more musicals by this weekend, especially because I have to admit I’ve been finding myself seeing more plays than I intended (if you are looking for a recommendation, I highly suggest Fit, put on by my friends at Plastic Flamingo Company – it also has Celtic music, so in that way there’s a nice musical element to it too). Still, the festival is rolling on, and many musicals are selling out (you can find a list here), including the record-breaking Yeast Nation whose opening night performance was the fastest selling performance in Fringe history (they even added a show, only to have it sell out once again). Remember to also check out the 6-word Fringe musical pitches if you're having trouble deciding what to see.
So far in the Fringe coverage, we’ve gotten insights into Zombie Prom and Ampersand, and today I wanted to mention my experience seeing Leonard Cohen Koans at Le Poisson Rouge last night. Though it’s not traditional musical theatre – in many ways it’s more cabaret, which perfectly fit the space, it was a really enjoyable night of music, especially if you’re a fan of Leonard Cohen (can’t tell you how delightful it was to see one audience member who was clearly a fan, bobbing his head and smiling with recognition at every song). The show exudes a narrative that makes it more than just a collection of covers. The ethereal quality of the show is a testament to Ali Hughes, the lead vocalist who effortlessly embodies every lyric she sings. The selections are also nicely curated and arranged so that the songs seem to flow seamlessly. I would definitely recommend this as a stop in your Fringe marathon (they have 3 shows left) – if anything just to vary up your itinerary and to see a great performer and talented musicians find inherent stories in thoughtful classics.