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From 'Hippest Houston'

August 31, 2009

"And the show stealer was the highly anticipated "Tetsujin" an amazing piece showcasing amazing dance choreography, film editing, and musical composition.
Tetsujin stunned me almost as much as the half naked man in fishnets i met on my way in.
I didnt give my Hometown the credit for its wells of creativity, craftsmanship, and artistic talent to run so deep. Never did the creative drum beat of the city seem to be so alive as it did when Tetsujin was shown.
I originally heard of Tetsujin through a segment on Nation Public Radio on my way to work. someone from the Fringe theatre was politely inviting Houstonians to come check it out, and immediately i was enticed after hearing it was inspired by Tetsuo, a character from the story of AKIRA who in the end turns into a machine.
I thought of myself. The everyday i get up to go to work. The mechanical process I go through to get out of bed, brush my teeth, make my pop-tart breakfast and head towards my next nine hours at my little office desk typing reports. And i thought about all the people in the city and cities like mine who must be doing the same mechanical things. "Are we all becoming machines?" I thought, "When do i get my turn to be human? When do any of us?"
And in a city where it is sometimes easy to lose sight of our Human self, and get lost in our day's monotony of machine like motions, Tetsujin came as a exciting awakening, a refreshing wave of water to the mind body and spirit, reminding me that true human expression and experience can and does live even in the most gear grinding industrial cities.

So thank you to all who made the 2nd Annual Houston Fringe Festival possible. Thank you for such a fun weekend. And thank you for giving the city of Houston such Life."

"What Have You Forgotten?"

 www.houstondance.org, June 12, 2006

 "Perhaps the most engaging character though was Bernie, a man suffering from delusions of grandeur depicted by Danny Magner.  His sense of humor/denial of his institutionalization (depending on how you look at it) recalls many “sane” folk I have known who walk the streets freely.  Magner’s persona reminds us that the border between freedom and institutionalization is relative, often self-induced, and sometimes comforting.

…choreographer Rebecca French makes creative use of pointe shoes and partner work to create the dingy world of bedlam.  Film techniques used by Mr. Thoth contributed to the darkness of the content, including intermittent twitching of movements, rewinding, and the bubbling of the picture, like a rock striking a smooth pool of water. 

Bedlam succeeds in constructing a believable darkness that draws the audience in to the possibilities of one’s mind.  The narrative further encourages the audience to reflect on the parameters set by both the mind and society.  Enter FrenetiCore’s world of bedlam and be prepared to reconsider yours."   -J. Ray