Fringe festivals are known for highlighting experimental, independent theater — the kinds of shows that are put on by a scrappy group of resourceful artists and aren’t afraid to take risks. Sadie Kennedy’s Little Chaos is exactly the kind of piece it’s made to highlight.
The show revolves around a young woman named Poppy (Kennedy), who is deliriously happy with her situationship (simply referred to as #### and played by Pat August) — until he unexpectedly breaks off the relationship. His ghosting and constant mixed messages cause her to spiral, slowly turning her into an obsessive, empty shell of herself and, frankly, a pretty inattentive friend.
Writing, directing, and starring in a project isn’t an easy feat. Let’s be honest, there are very few people who are genuine triple threats, able to do all of them well — especially at the same time. Kennedy, however, proves herself a rare exception.
The writing is clever, paying tribute to classic rom-coms while still putting a modern twist on the genre, and both the romance and comedy elements are strong. The often zany humor — combined with Kennedy and the rest of the cast’s solid comedic timing — evokes a lot of laughs throughout the show’s tight 45-minute runtime. From Sex and the City references to playful digs at Midwest culture, the show feels funny and fresh.
There’s a long, climactic scene toward the end of the show — one that’s much slower and more grounded in nature than the fast-paced, fantastical whirlwind of the start — between Poppy and #### that had me on the edge of my seat due to the authenticity of the script and performances alike. It’s easy to care about Poppy and difficult to figure out whether she’s going to give in to temptation to give #### another chance or let him go for good. In the moment, the right thing to do doesn’t feel as black-and-white as the beginning of the show sets us up to believe, which is a testament to the strength of the actors’ chemistry and material with which they’re working.
The other performances are notable as well, particularly by Kelsey Tuma and Brittney Quach as Poppy’s best friends, Yorick and Moonbeam. There’s a very Heidi Gardner vibe to Tuma’s delivery, and Quach gets some of the biggest laughs in the show, but they also give the story nice depth. Not just relegated to supportive best friend roles, they allow Little Chaos to realistically examine the way that friendships can change and suffer when one of the parties is in a toxic, draining relationship.
My only real critique is that the writing feels a bit broad and general at times. There’s a lot of vague alluding to why the central couple wouldn’t have worked and how hard it would have been to be together, but we never get any real indication of why that’s the case. More specificity could have made the characters feel more fleshed-out and three-dimensional, as right now, they’re skirting the line of feeling like tropes and symbols rather than fully-formed individuals.
By far the most impressive part of Little Chaos is its staging. I was truly blown away by Kennedy’s vision, which she and her cast and crew executed to perfection. The show moves through scenes at breakneck speed, but there’s a breathtaking fluidity to it that makes it feel dreamy and magical. I can’t even begin to imagine the rehearsals it must have taken to get the timing of all of those transitions that precise, but the cast and crew manage it, efficiently working together as one entity to make everything feel seamless.
The combination of funky set decor, striking costuming, and innovative choreography felt reminiscent of musicals like La La Land and Singin’ in the Rain. From the brilliant use of an air mattress as a centerpiece prop to the inclusion of swirling chairs and lightsticks to give everything a distinct, creative visual flair, Little Chaos is a feast for the eyes. Many shows promise a bold, fantastical experience — this is a rare show that actually manages to achieve it.
Get tickets for Little Chaos at the Hollywood Fringe Festival here.
— Taylor Gates