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It’s performed by two veteran actors whose ease on stage is apparent the moment they make their entrance together, mid-dialogue.

This ease was so great that, at moments, their performances were nearly indistinguishable from real life, as if the audience were listening in on two people’s actual interaction.

Fox is expected to pick up pilots from other studios.

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All the same, I do feel that these three shows – as far-ranging as they are in style – each made me alight near the topic of naturalism.

I’m not sure that’s the right word, so I’ll also throw in the adjectives real, believable, and authentic.

And then at the center of this stylized maelstrom is the charming Finola Applebaum, a teacher with a heart of gold and our relatable straight-man in this sea of insanity. Applebaum's character – as "real-life" as she seems – always remains within the absurd world of the show.

I find the juxtaposition of outsized abusrdism and relatable naturalism really intriguing in this show. Her character never comments on the wackiness around her, but deals with it authentically, as it were all just a part of her ordinary life.

It has been my unchecked belief that theater is not meant to be actual-life-sized. Shove it through a new lens, like Play-Doh through the Fuzzy Pumper, and extrude it into a new shape. Get Rich Cheating is my friend Jeff Kreisler’s one man show, billed as a Tony Robbins-type wealth-building seminar that promises to make your greedy little dreams come true through some good old fashioned cheating. And despite this embarrassment of riches, there seemed to be nothing smug about them.

That theater is not meant to replicate life, but to translate it somehow. Even when the chosen style of a piece is naturalism (or realism or whatever the proper dramaturgical term is), I’ve always believed it must not be exactly like “real life.” Indeed, the very nature of theater – that there are performers, an audience, a tacit agreement about why we’re there – prevents it from being exactly like real life. Or was this piece of theater, and this man’s performance, not actually life-sized? Rife with examples of real-life cheating “heroes” such as Bernie Madoff, AIG, and A-Rod, the show is a flat out satire – but of a surprisingly natural kind. They just seemed to be doing what they enjoyed to do.

I imagined I would spend it as a productive mental health day – sleep late, wake up refreshed, tidy the house, work out, catch up on the To Do list.

Instead, my brain heard “sick day” and figured it needed to actually make my body sick. So now I feel sort of thick-tonsilled and fuzzy-headed which is making it difficult to weave a cohesive thesis out of my Fringe experience thus far.

Pineapple by threatening to withold the principal's regular cootie shot, and in the next moment, you witness the child's genuine hurt at her self-involved mother's neglect. This whole life sized/real life/naturalistic/authentic thread is a bit of a tangled mess, but there are some good strands in there to keep tugging on.

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