Castrati: A Tale of Two

Has Loads of Potential, Needs Refinement

This show could have used another few weeks of focused rehearsal. It has a lot of potential! But there were just enough weird choices in the production that took me out of it: 1. I couldn't understand any of the lyrics in the first musical number at all, so the introductory exposition was completely lost. It took me a while to piece it all together as the show went on. 2. Why did everyone share one mic? TBH, it wasn't even needed most of the time. Using the mic became a crutch. Performers should be able to project in this type of space without a mic. Weirdly, during some of the musical parts alongside a live orchestra, they often didn't use the mic at all, but would use it during otherwise quiet moments when no mic was needed. Worse, during some musical numbers, the performers attempted to share one mic and it's not an omnidirectional mic, so neither performer's vocals were picked up. 3. The live orchestra was a nice touch, but their placement should have been further downstage to manage loudness levels. 4. For the parts when the live orchestra delivered exposition or commentary, they were very clearly completely on book, scripts in hand. Was this a last-minute change? Critiques aside, the writing was pretty good, but the performers needed to lean into the ghastliness of it all a little stronger, especially in the beginning. I don't mean to be too critical, even if this review reads as such. This show has great potential! The puns and verbal allegory to describe all the ways of the misfortune were often great. The choreo was mostly tight; the younger girl in the ensemble definitely has dance experience and she's very comfortable on stage. It felt like everyone was following her at many parts. And the performer playing the kid who was accidentally slipped has some SERIOUS vocal talent, my god! That voice! She was giving Amy Winehouse. For those concerned about the actual content, know that this was a real thing that happened, mostly in Italy. Look up "castrato" (plural: castrati, hence the show name). This is not a trans allegory or modern-day gender statement, though some of the actual material does involve slander against the castrated child questioning if they're really a "man" (but note that this show is set in 13th century Italy).

Castrati e bellisimo!!!

The total delight that overcame me in the first number of this show...Could it be? That a Minnesota Fringe show mastered the perfectly stupid, instinctual comedy of current Broadway darlings like OH MARY and Titanique? Yes, with a brilliant dose of Italianx humiliation and scrappy charm that those two lack. I'm reading the reviews here and seeing some people's hangups about the technical aspects in Castrati. They're not wrong, it could have been a cleaner performance. But the strength of this show is that it sets this unstoppable pace of comedic timing that allow it to bypass any its technical shortcomings. If anything, the inconsistency of the polish makes it that much more lovable, makes the showstopping vocals of our dear castrati even more hilariously good. The vision was executed perfectly and it's so, so much fun. A moving, heartfelt, URGENT, and absolutely necessary piece for the brave and ballless among us. Never let them silence your voce...

OODLES of fun!!!!

This production is a joy to behold from the first snip. Castrati brilliantly walks the line between gleeful gags and a genuinely compelling character arc. It had me giggling at the wordplay and ridiculousness one minute and then unexpectedly moved the next. The lead delivers a fantastic performance, commanding the stage with her dazzling vocals and infectious presence. The grandma is also incredible. The writing and lyrics are hilarious, the band is excellent, and the songs are so good I'm already hoping to get the chance to hear them again. My least favorite part was when I realized it was over. Charming, exuberant, and completely delightful.

VERY First Draft

Some of the jokes landed and the audience seemed to enjoy it, but I have to rate it low because it feels just... incredibly first draft. A ton of narration rather than letting scenes flow and speak for themselves, multiple songs that seemed to have very little to do with the overall point and muddled the plot, and a plot itself that seemed confused about what the point of there being a show at all was. Side note, the other reviews are true: the band was WAY too loud and that did not help clarify the plot itself at all.

A UNIBROW triumph

I’m always hesitant to attend Fringe musicals, but this was a real smashing success! The humor was all over the place in the best way possible, combining the most lowbrow, goofy jokes, like bad Italian pronunciation and testicle punchlines, with actually fairly sophisticated highbrow blink-and-you’ll-miss-it references. Brilliant on so many levels and such a hoot to boot! My only constructive criticism is that some elements, like the over reliance on narration or even really a total lack of staging, felt more like concessions to an unfinished production than fully deliberate artistic decisions. Don’t let that dissuade you though, this was the perfect show to kick off my fringe with, and if even half the shows this year can rise to this quality, it will be nothing short of a fringe festival triumph.

Have a Ball at Castrati!

I have been to many Fringe Festivals but I have never had as much fun as I had watching Castrati! It is funny, creative, and performed by a supremely talented cast , and features some amazing musical numbers that I am still humming a few hours later. The show mixes broad humor with so many subtle sophisticated references that it can be enjoyed on many levels. My one regret is that I missed some of the exquisitely clever lyrics because some of them went by so fast I couldn’t keep up and some were hard to hear with only 1 microphone available that the performers had to share. But no matter, there was still plenty to laugh along with and the music was so great in its own right I couldn’t help tapping along. Probably the weirdest thing was that this musical theater spoof still managed to get me to care about the protagonist and cheer for his triumph! I think in part that is due to the cast playing it straight and not letting on that it was in on the joke. A great choice on the part of the director. I’m going to see this again if I can.

Lowbrow Broadway (not derogatory)

This is the only fringe show that's made me audibly laugh so far. If the crass humor was reigned in just one millimeter or two, I could easily see it conquering the international circuit and that's not a joke. Needs more time cooking for a few aspects here and there, audible dialogue/lyrics and more dynamic blocking mostly, but it's something special no matter. All performers rocked, some of the word play destroyed me in the best way, most narrative beats came as a pleasant surprise, and the live musicians were just incredible. Way better writing and singing than I expected to get. Loved my time with this one.

Good concept but needs work

I felt that the show had a good concept as a whole but needs some cleaning in stage direction and clarity of story. The musical composition was well done and for the most part decently performed by the cast. I do think that diction could have been improved in the songs as most words got lost which is a shame because when you could understand it the lyrics were witty and well written. I found the cast as a whole to have poor diction and many confusing accents that didn’t match up or add to the story; very distracting. A few striking thoughts of the composition of the story line for me was that the show introduced a narrator like character but then seemed to switch it to the pit orchestra part of the way through, much of this confused me. I also was hoping for some more moments of puns and play with high registers of the voice. For being about castrati none of it was in upper vocal registers even for humorous effects. Leads of the show were fairly solid but the ensemble seemed very unrehearsed especially in terms of choreo. The final songs was very catchy and fun but it kept saying the words “sing in harmony” yet everything was in unison. I think this show has SO MUCH POTENTIAL but as a whole could really use some focused work and more rehearsal time.

Lively and Fun

Was not sure what to expect with this one and I'm so glad I went. The way they work in testicle humor in ancient Rome to Hummingbird dancing and catchy tunes is worth the ticket alone. The cast genuinely seemed to enjoy performing together and the singing was great. It's worth going to!

Castrati took away my balls, but gave my my vocce

It's about what you'd expect from a show called Castrati. If you don't like crude humor, you won't like it. Good actors/singers all around, full of entertaining songs, and an exceptional live band to boot. The self-serious presentation is really what sold it for me.

Fun and a little absurd!

Really fun show! Plenty of gonad-based humor that continued to get laughs from us alongside some great singing. Loved the lead actress and the energy she brought to the role. Would recommend!

A work in progress

I had high expectations for this show. A good first draft, but needs refinement.

I fell down a well of enchantment at Castrati

A delight from the very first snip….my enthusiasm for this show could never be castrated

Go to Castrati and be Testickled

I'm generally skeptical about Fringe musicals, specifically regarding the quality of the music, but Castrati brought both an incredible original concept and a great original score. As others have said, the lyrics are clever and the whole experience is a delightful romp. I do think some of the staging and costuming needed a bit more time to bake, as well as some sound leveling between the pit orchestra (which I loved) and the singers. I ended up missing lyrics, which is a shame as I'm sure they were just as funny and clever as the rest of the show. This was the show the kicked off my Fringe this year and I thoroughly enjoyed it. A bit of polishing will make this production unstoppable, but I strongly believe it is still worth your time as is.

A Timeless, Timely Camp Masterpiece

This show is something deeply special. I can sense the magnificent future of this show churning beneath the surface. It’s wiles and gumption blew me away— everything I saw, whether seemingly unpolished or not, seemed an intentional part of this show. It is deeply aware of itself. Listen close— your ear (and body) will be deeply pleased at the little diamonds of hilarious dialogue that pass you by if you aren’t locked in. It demands your attention and your humor— you are in on the joke. It is as much a campy pastiche as it is a soaring original piece. It embodies a love of artifice and exaggeration in a fascinating way; pared down sets, minimalist yet effective costumes, contrasted by complex musical arrangements, huge cast (for Fringe especially- I counted at least 20 people in the whole production), and a delightful leading protagonist with a delicious voice. My only piece of criticism is that the sound system, I’m sure to no fault of their own, left a little to be desired, as sometimes the combo of the space with the complexity of the musical pieces made for difficulties in terms of hearing everything fully. Great show in all. Keep your eye on it. It seems to be divisive already, which I think makes even more of a case for you to go see it. Out of the four Fringes I’ve been to so far, this one has already been the most memorable, in large part to Castrati. Props to everyone involved.

Did I just see the next big thing ??

I walked out of Castrati - A Tale of Two with a keen sense that I had just witnessed something poised to explode. As others have noted, this was not a polished final product, but it was rich in wit, vocal verve, and (despite the enormous balls bouncing everywhere) tenderness. One wonders what this show could become with a few more microphones, some cleaned up diction, and perhaps a few more minutes for the story to breathe (I found the father's vacillations (mental snip-snap-snip) verge towards profundity, but ultimately fall short, likely due to how compressed it all was).... There were many standout performances, but I was especially enamored by the lead (Julia) and the Grandma. The ensemble was excellent, as well, supported by sublime musical arrangements and a tight band. My favorite number was the street sweep romp. Musically and lyrically, the lead's ballad was the highlight (this could be reprised over and over again, I think!). The final song is the only number that left me wanting: although the tune is still stuck in my head, I found the lyrics to be much less lively than earlier numbers, and fail to deliver a triumphant denouement. My only other constructive feedback: I would have loved more vocal play in the upper register!

Come to the castration

This show is a tour de force. I was having a horrible day before I went and it completely turned me around. Laugh-out-loud lines throughout. The musical numbers alone could be instant classics. Ignore the haters whining about it being "unrefined" – this is DIY theater you cogliones.

I had a ball!

Had a smile on my face the entire time!! The dialogue and lyrics were a poetic masterpiece. And disguised among all the (delightful) genital humor was, in my opinion, a thoughtful and responsible exploration of gender. The punching bag was always ideas about cis masculinity, and it portrayed gender as flexible, self-determined, and not dependent on what anatomy you do (or don’t) have. Doing that in a lighthearted and fun way takes such creativity and artfulness! What a treat!

Good structure, but missing the balance

I liked the idea of this show, and I think the themes of forced masculinity and pressures of a “right” way to show gender ring powerfully in the contemporary United States, but I didn’t feel the musical fully hit the mark as the balance seemed off in a lot of ways. The most obvious lack of balance was the orchestra and vocal levels – I was impressed by the arrangements and the complexity of the music, but it was too loud. It seemed as if many of the lyrics were witty and engaging, but I had trouble hearing them. This may have been due to my seats being near the relatively large pit musicians, but I found the volume difficult to work around. I also couldn’t tell how much the script/production was trying to highlight the themes of gender stereotypes verses making jokes about genitals – and this was partly due to missing so many words. That’s not to say I didn’t enjoy or appreciate the piece and I was impressed with the grandeur of the production that was able to go into this fringe performance – the music, costumes, script, instrumentation, etc… and I will gladly stand by my four stars - but I would have appreciated a bit more polish and clearer decisions on the direction of the piece. This show is an enjoyable hour, but I wouldn’t give it a “must see” rating.

Castrati’s voce will warm your heart

What a romp! The arch of the story is as hilarious as it is endearing. The storyline and lyrics are fast paced with memorable witty nuggets sprinkled throughout. Numerous allusions spanning from Italian culture to pop culture will keep you on your toes and serve to enhance the clever dialogue and catchy musical numbers. Don’t despair if you can’t catch every line, the overall effect is infectiously spirited. The band is nothing short of magnificent and the ensemble adeptly backs up a truly gifted set of main actors. Balls to the wall, Castrati is a must see.

A snip, a shriek!

Absolutely blew all my expectations! I had a smile on my face or was laughing the entire time. The writing and puns kept me engaged, and I loved learning new Italian words. I’m definitely going to go see the show again!

Beyond Snip-Snip to Serious Topics

Although the preview and many reviews might reinforce that which is comedic, crude and too often cruel, I believe much of this play was very serious. So many questions from centuries ago to the current day: Is it different when someone chooses to alter their body to better match their self identity vs having someone else alter your body for their vision of the artist you might become, or not, and who gets to choose as what risks? Familial acceptance: who are those who reject a family member because that person cannot fulfill the hopes and dreams that will never be and who are those who will help you accept the altered self than expected regardless of how change has or has not happens? How does one find one's tribe, the people with whom they become their best selves? Once a person has made a life on their now true or alter self, can one go back to anyone who has been cruel, dismissive and opportunistic? Where is love found and share? For me, there was so much more to this play than the comic. I loved the lost child who found their own purpose. I love the supportive band, which also played the parts of narrator. I loved Nona, the devoted grandmother and elements of other worldliness. I hope this play grows into a greater production. But see it now, here, in it's current version.

Delightful Music and Charm

This show was a significantly large cast for a Fringe show. Some of their numbers are deployed as a solid orchestra. Some get musical numbers while their are several chorus like segments. I liked the show and felt it was well worth my time. The only significant complaint I have it was clear to me what motivated the "removal". The family members didn't seem happy by the act and the character in the performance does not seem to have initially exploited it. Some of the cast had more stage experience and presence than others as several time I saw performers engrossed in the action have if they were witnessing it for the first time - this did not strike me as part of the script. I would recommend going.

Great musical

Odd tone, in the best way, great songs, 7 piece band. Really excellant cast, both vocally and performance wise.

What a romp!

I wasn't super excited about the topic- a musical comedy about mutilation? But somehow it works! I loved the music and the writing was fun, some silly and some snappy. Fun dancing and a sweet message. I was humming tunes after the show. I had trouble following exactly how the boy ended up castrated- evidently he had a problem with his ear and then the doctor slipped/snipped? A very fun and festive fringe show!

again and again and again and again…

i saw castrati: a tale of two on opening night and have been casting about ever since for the words to capture my experience. for starters, the show dealt a major blow to my chest and lungs. so much for forswearing the cigarillos. the opening 20 minutes—which cleverly concealed the hilarity of the premise in a veil of self-seriousness—had me heaving with laughter. fatigued as i was, chin to chest, i was not prepared for “what came next.” as the protagonist raises her bowed head and croons the first line of “what’s next” (quite the ear worm) a delicious warmth encased my body. I still carry it with me days later. Glee is perhaps the proper term. it was a balm to soothe the pain from laughing; a brilliant one-two punch of satire and sincerity. sure, the bare-bones staging skewed awkward at times. and the lone microphone was passed around like a greased sausage. but these stumbles only served to underscore the lyricism of the script, replete as it was with shakespearean charm and host of ingenious references. and set-wise, they had all they needed: two pinkish balls and pair of gleaming silver scissors. all in all, it was a story that needed no buttressing. like boys into men, i wish i could see castrati: a tale of two again and again and again and again and again…5/5

Fun but Underrehearsed

Some very delightful bones, but it felt like a first draft script and not enough rehearsal for that talented cast to confidently perform. The script contradicted itself at multiple points,was sometimes hard to follow, and while the random Italian vocab was funny, it means you have to learn how to pronounce those words! If the finale song is all about singing in harmony, could we sing it in harmony instead of listing different notes? The Castrato was a standout performer and I loved all of her songs, but was left disappointed she didn't get more stage time. I hope these talented performers come back to fringe. I will be there again if so. But I also hope they put a little more time and care into it.

Needs Refinement & Better Direction

This show has great music composition and some top tier puns! Cosimo (sp?) is a standout start. Unfortunately, they are also the only cast member who knows how to use a mic. I struggled a lot in this show with understanding the actors and singers, which made it . This was a combination of poor diction, unskilled mic use, and unnecessary accents. (Although, the doctor's was applied to great affect!) Speaking lines did not call for a mic at any time and was distracting – I'm not sure any of the singing required a mic either in that space. I didn't actually understand what was going on or why until they went into the forest with the hummingbirds. The staging left a lot to be desired and also proved a distraction from the scenes at hand. I also would have loved for the band - especially because they had speaking parts - to be on stage. Not being able to see them when the speak is a bit of an accessibility issue. The costume and lack of costume choices were confusing. The premise of this show is excellent and has so much potential, the execution makes for a challenging experience for many audience members.

Talented and testy

A joke-packed musical that relies on the idea that balls are funny. And let's face it folks. They are. The production comprises of an ensemble and medium-sized pit orchestra. The impressive host of people involved proves to be unwieldy in some story-telling moments, but the basic concept of "the first castrato" is such a great hook and this show delivers a fun time. The songs are great, and there are some standout performances. You gotta be down for scrotal humor though.

so fun

Smiled and laughed the whole time. Fast moving, witty lines, testicle in a jar and hilarious characters. Left humming the catchy tunes!

Confusing but entertaining

I hope they publish the lyrics eventually, I know there were some classic puns in there. I heeded a previous reviewer and sat far from the orchestra for better sound. The cast mostly sang forward which helped with lip-reading. I think I missed some lines with back-story. I had a friend who used to keep her horse's pickled nuts in a jar on a shelf, Pat would have liked this show!

Jaw-dropping spectacle of talents on a budget

Briefly put: the full effect of this production may never be seen, though maybe heard as a studio recording?, due to the all-out Fringe-iness of its premise, which combined with its killer musical talents, clever writing, lively choreography, and vivacious musical numbers that is why I am urging people to see this show while you can. "Castrati" will likely never be seen outside of Fringe, which makes it more worthy of receiving twice the Five Fringe Cats I'm allowed to give it for committing to their juvenile schtick into what resulted in an all-out, Fringe budget powerhouse of a musical. Sorry to other folks for their struggles with the band - I sat on the side furthest from the band so I was able to enjoy the levels ok and heard enough of the dialogue to enjoy the meat of the show, which were the musical numbers and humor.

Would you trade your balls for a voice?