Editor’s Note: Last Updated August 3 @ 9:43am
SALT LAKE CITY — Each summer, the Great Salt Lake Fringe Festival celebrates independent, experimental, and artist-driven performance. Fringe is not one kind of theatre so much as an invitation: to take a chance on new work, encounter unfamiliar voices, and see what happens when artists are given room to create outside the expectations of a traditional season.
That vision has helped launch some remarkable work from Fringe Festivals world wide. Shows such as The Play That Goes Wrong, Six: The Musical, Urinetown, and Netflix’s Baby Reindeer all found early momentum through Fringe festivals before reaching much larger audiences. Not every Fringe show is trying to become the next international success story, of course, but the festival model creates space for the kind of risk, experimentation, and immediacy that can make new work possible in the first place.
The spirit of Fringe is variety. In a single festival, audiences may find plays, solo performances, dance, comedy, storytelling, magic, music, puppetry, devised work, and pieces that do not fit neatly into any category. Some shows are polished premieres. Some are scrappy experiments. Some are funny, strange, intimate, provocative, personal, or wildly unexpected. That range is part of the point. Fringe gives artists a place to test ideas, take creative risks, and connect directly with audiences who are willing to be surprised.
For reviewers, Fringe also offers a different kind of assignment. These productions often arrive with smaller budgets, shorter runs, and a spirit of invention that asks to be met on its own terms. A Fringe review is not only about whether a show succeeds by conventional standards, but also about what the artist is attempting, what kind of conversation the work opens, and how the performance contributes to the larger energy of the festival.
This page will serve as our central hub for Great Salt Lake Fringe coverage. As reviews are published throughout the festival, we will update this article with the latest write-ups so readers can follow along, discover shows they might otherwise miss, and get a broader sense of the work happening across this year’s Fringe.
Whether you are a longtime Fringe-goer or someone wondering where to begin, check back here often. The festival moves quickly, performances come and go, and part of the fun is catching something before it disappears. We hope this guide helps audiences navigate the lineup, support local and visiting artists, and experience the unpredictable, generous, and adventurous spirit that makes Fringe worth celebrating.
MORE INFO: The Great Salt Lake Fringe Festival runs July 23–August 2, 2026, with more than 20 independent productions presented over two weekends. Performances take place at multiple Salt Lake City venues, including Alliance Theatre at Trolley Square, MadKing’s Fellowship Theatre at The Gateway, and Lightree Studios. Tickets are $15 for a single show, $35 for a 3-pack, and $85 for a 10-pack. Because venues are small and individual show schedules vary, audiences should check their tickets carefully and visit the Great Salt Lake Fringe website for the full lineup, schedule, and official https://www.greatsaltlakefringe.org/ or on Instagram @GreatSaleLakeFringe.
2026 Reviews
OPHELIA IS STILL DROWNING!?! is a Brilliant Solo Performance
Scholars and lovers of literature and drama have spent centuries trying to unpack Shakespeare’s Hamlet and coming up with a wide variety of interpretations, often expressed in the understanding of the characters surrounding the Danish prince. Sandra Detweiler approached the text by exploring the character of Ophelia with depth, nuance, and a talented mix of modern and classical storytelling.
The structure of the story follow’s Ophelia’s plot line in Hamlet following her major story beats, as well as infusing scenes that add richness of context to the character of Ophellia. By and large, the moments that are from Shakespeare’s text are written and delivered using the bard’s language, while new scenes have a mix of contemporary dialogue, solo rock songs, and thoughtful commentary as Detweiler writes and plays multiple characters in the style of a dramatic interpretation.
Overall, this was a strongly written piece. I was a stunned to realize that it was a world premiere because the bones of the story, both the cuttings of Hamlet and the invented scenes in the new work had excellent balance. The writing supported humorous wrinkles of characters, allowed for foreshadowing and dramatic irony, subtext, and a good balance of humor and thoughtful conversation. Framed as a modern, feminist reinterpretation, Detweiler found an impressive range in her interpretation of the characters. I loved some of the choices where Hamlet was not given a voice and Ophellia was. The writing explored many view points but centered on the experiences of the protagonist in nuanced ways.
I was particularly struck by a scene where Horatio comes to talk to Ophelia who rails about the changes Hamlet has undergone and the difficulty she faces with her lack of bodily autonomy. She expresses frustration at her father owning her until she’s given in marriage and the isolation and disenfranchisement she feels facing this reality. This was both an empowering and expected section of the drama viewed through this lens. However, I was struck by Horatio’s rebuke and thoughtful repositioning of Hamlet’s lack of freedom as a similar struggle and grounding Ophelia’s later choices in something concrete and strong. This and other sections led to seeing an Ophelia who, at the end, is understandably distraught, confused, and finding a sense of clarity in her character’s untimely demise rather than than an unhinged plunge into a river driving the story forward for Hamlet’s tragic descent. I came away thinking what an exceptionally well written piece this was and wanting to engage with it as the piece continues to evolve. That’s great art.
The performance itself was fairly solid. Detweiler made acting, blocking, and design choices to allow for clarity of understanding who each character was intended to be. Claudius and Gertrude wore crowns and had different posture and framing to their words and actions. Laertes, by contrast, was more relaxed and wore a backwards cap. There were some transitions that could have been sharper between moments, characters or scenes. However, I came away feeling that Ophelia had a depth of character that was being discovered in wonderful ways through this piece that I hope has sustained life beyond this festival.
—Scott Savage
******
The Most Interesting Person in the World Is Worth Meeting
Comedian Cache Dexter returns to the Great Salt Lake Fringe Festival with The 2,045,148,705th Most Interesting Person in the World at Alliance Theatre Black Box. Written and performed by Dexter, he doesn’t believe he is the most interesting person in the world. He’d like to be, but first he has to figure out how to beat Baby Satan, the person occupying the spot just above him. This performance is one of his many attempts to become more interesting.
When I entered the black box theatre, music I can only describe as “wacky” was playing. Cat and dog sound effects mixed into the synth beats of the song. Center stage sat a gray box covered with an assortment of objects: a mounted paper organizer, a Russian dictionary, an “I Love Ogden” hat, a wrench, and several other odds and ends. A single spotlight highlighted the decorated box, making it immediately clear that whatever was inside, or attached to it, would be important.
This is the first one-man show I’ve ever attended, and I’ll admit I was nervous going in. One of my favorite parts of theatre is watching actors bounce off one another. How could one person keep an audience’s attention for an entire show? Cache Dexter definitely did.
His delivery is incredibly deadpan, with a dry style that reminded me of Napoleon Dynamite. I’ll admit it’s not exactly my type of humor, and it took me a little while to settle into it. Once I found the rhythm, though, there were plenty of moments that made me laugh. My favorite was when he explained his prediction for the haircuts of the future before revealing a hidden message shaved into the side of his head. At one point, a group on one side of the audience was laughing so hard they were nearly in tears, and I admired that Dexter never cracked. Not even the slightest smile. He maintained the exact same delivery from beginning to end. I definitely would have broken. It also left me wondering whether Dexter is playing a character or simply an exaggerated version of himself.
The show isn’t just Dexter standing onstage delivering a monologue about his attempts to become more interesting. Those attempts include becoming a taxi driver for mythical creatures, researching the relationship between being interesting and the stickiness of glue, and developing a product called “Onion Buddies” to help children process grief. Throughout the performance, he constantly involves the audience. Props get passed around the room, and whenever people react particularly strongly to a bit, like when he casually eats glue, he’ll answer with a quick throwaway line. (“It’s organic.”) He makes sure to engage every section of the black box so no one feels left out. By the end, it feels like we’re helping him on his quest rather than simply watching it.
Eventually, the show takes an unexpected turn. Throughout the performance, Dexter has been receiving updates about “the list” from someone named Greg. Since this is a one-man show, we never actually meet Greg. Dexter periodically leaves the theatre to check the mail and returns carrying an envelope containing either a letter or an updated ranking.
Greg eventually reveals that the list is over. His family left him, and he realized he had spent so much time trying to determine who was the most interesting person in the world that he forgot to actually be interested in other people. For a brief moment, Dexter gives up on climbing the rankings. Instead, he begins talking with an audience member, asking about her day. Even though his delivery remains completely deadpan, the shift from absurdist comedy to genuine sincerity is unmistakable.
My only criticism is that the moment doesn’t last. Dexter soon receives another letter informing him that he has successfully moved up one spot on the list. Naturally, he immediately shifts his attention to defeating the nine-year-old girl ranked above him.
I understand why the show ends this way. A sentimental ending probably wasn’t what Dexter was aiming for. Still, I found the improvised conversation with the audience member to be the stronger ending. It felt like the emotional payoff the rest of the show had quietly been building toward, and ending there would have been more satisfying than watching Dexter jump right back into the competition.
The 2,045,148,705th Most Interesting Person in the World is rated “fairly Fringe-y,” the Fringe equivalent of a PG-13 rating, and I’d agree with that assessment. Younger audiences probably won’t appreciate Dexter’s style of dry, understated humor. Overall, though, it’s an evening full of absurd comedy, clever audience interaction, and a surprisingly heartfelt message beneath all the weirdness. If you have the chance, it’s worth catching before the Fringe Festival ends. It’s a shame the festival only lasts two weekends, because this feels like the kind of show that deserves to find audiences long after the festival is over.
–Lindsay Cruz
Cache Dexter’s The 2,045,148,705th Most Interesting Person in the World plays July 24th at 9:00 PM, July 25th at 6:00 PM, July 30th at 7:30 PM, July 31st at 9:00 PM, and August 1st at 12 PM at the Alliance Theatre Blackbox 602 E 500 S Ste E101 Salt Lake City, UT 84102. Tickets are $15.00. The runtime is approximately 60 minutes.
******
Question Everything at Salt Monster Theatre Co.’s REPLACEMENTS
As part of this year’s Great Salt Lake Fringe Festival at Alliance Theatre Blackbox is Salt Monster Theatre Co.’s Replacements. Written and directed by AB Harrison, Replacements tells the story of two workers whose jobs include completing simple assignments in perfect harmony with each other and following their given instructions with exactness. At the end of the workers’ shifts, one of them will be replaced. The purpose of the work is unknown and irrelevant, and at first is predictable, even monotonous. However, when the demands of the job change with seemingly impossible expectations, the workers begin to question their willingness to comply and must weigh the consequences of blind obedience.
The overall vibe I felt as I walked into the Blackbox made me that much more excited for Replacements to begin. I took notice of the simple, yet detailed set: a card table with two chairs and identical workspaces complete with matching papers, staplers and coffee mugs. Behind the table, stood a large machine of sorts that appeared to be made from gold spraypainted cardboard boxes. The red and blue lighting was dim and electronic music played overhead.
Dustin Hardebeck gave a strong performance as Worker One. As the more senior worker, Hardebeck’s character laid the foundation for understanding the nature and culture of the job. Hardebeck’s near flawless, almost robotic delivery was captivating and, as one who has worked in an office environment before, I found myself relating to the character’s behavior and reasoning.
Jaxton Romeo Brenner as Worker Two gave an equally compelling performance.
As the newest worker, Brenner articulated well the experience of being a new employee with high energy and optimism with endless questions and observations. Brenner’s role was pivotal to the story as it brought to light the absurdity of the working conditions and added friction to the co-workers.
Under Harrison’s direction, Hardebeck and Brenner had wonderful compatibility and comradery on stage that was consistent throughout the production. Harrison also expertly directed the character arcs for both Hardebeck and Brenner. It was remarkable to watch the individual decline each worker experienced in such a short period of time.
The technical aspects of Replacements were well thought out and executed perfectly. One detail that I noticed was the near-constant sound of a fan or air-conditioning blowing while Hardebeck and Brenner were working. This small addition elevated the sense of sterileness to the environment.
Also appreciated was the attention given to Hardebeck and Brenner’s appearance. While both actors were dressed in the same white shirt, black tie and black pants, there were clear differences with Hardebeck’s tie on properly while Brenner’s hung loosely around his neck. While simple, these details in appearance helped articulate the differences between each worker.
Of course, the most brilliant technical aspect of the production was the overhead voice that shouted demands to the workers. It was fascinating to watch Hardebeck and Brenner respond to the overhead voice and respond accordingly. One notable moment was when the workers were told to do ten push-ups because the irrationality of the job truly came to light. I was getting frustrated as the workers were told they were going too fast, too slow or not doing them correctly.
The only aspect of the play that had me puzzled was the idea of Worker One having a daughter. It seemed the daughter was there to prove how removed Worker One is from reality when he couldn’t recall her name or the last time he saw her; however, the storyline felt out of place and unnecessary.
Salt Monster Theatre Co.’s Replacements is a fast-paced story with excellent direction, acting and technical designs. It is a thought-provoking play that left me pondering my own behavior and to consider how the role of obedience affects my everyday life. I enjoyed my experience at Replacements and highly recommend it.
-Emily Clark
Salt Monster Theatre Co.’s Replacements plays July 26th at 4:30 PM, August 1st at 6:00 PM and August 2nd at 3:00 PM at the Alliance Theatre Blackbox 602 E 500 S Ste E101 Salt Lake City, UT 84102. Tickets are $15.00. Runtime is approximately 45 minutes.
Shows That Have Not Been Reviewed Yet
An Undiscovered Room — Interdisciplinary Arts Collective
Dates: Jul 24, 2026 – Jul 26, 2026
Fringe Rating: FF – Fairly Fringe-y (PG-13)
Daisy Voo’s Juggling Debut — Daisy Voo
Dates: Jul 30, 2026 – Aug 2, 2026
Fringe Rating: FF – Fairly Fringe-y (PG-13)
Dramapocalypse — Fool End Theatre Co.
Dates: Jul 25, 2026 – Jul 31, 2026
Fringe Rating: FFF – Full-Fledged Fringe (R)
(Pending Publication of Review) Happy Birthday Mr. President. — Trust Fall
Dates: Jul 24, 2023 – Aug 1, 2026
Fringe Rating: FF – Fairly Fringe-y (PG-13)
Helen — Annabelle Willes
Dates: Jul 30, 2026 – Aug 2, 2026
Fringe Rating: FF – Fairly Fringe-y (PG-13)
in my room — Laura Elise Chapman
Dates: Jul 25, 2026 – Aug 2, 2026
Fringe Rating: FFF – Full-Fledged Fringe (R)
It Could Be Any One of Us — Jack Bell & Max Rhineer
Dates: Jul 25, 2026 – Jul 30, 2026
Fringe Rating: FFF – Full-Fledged Fringe (R)
Keller has an hour to win an Oscar — Keller-Lee
Dates: Jul 25, 2026 – Aug 2, 2026
Fringe Rating: FFF – Full-Fledged Fringe (R)
Polaroids from the Apocalypse by Sara Alanis Morales — PYGmalion Productions
Dates: Jul 24, 2026 – Aug 2, 2026
Fringe Rating: FF – Fairly Fringe-y (PG-13)
Puppet Karaoke — Puppets in the City
Dates: Jul 26, 2026 – Aug 2, 2026
Fringe Rating: FF – Fairly Fringey (PG-13)
Shakespeare’s King John – A Solo Performance — The Giddy Round
Dates: Jul 30, 2026 – Aug 2, 2026
Fringe Rating: F – Family Friendly (PG)
Sugar Mud — Meat Bar
Dates: Jul 25, 2026 – Aug 2, 2026
Fringe Rating: FF – Fairly Fringe-y (PG-13)
The Emperor’s New…Everything! — Salt Lake Children’s Theatre
Dates: Jul 26, 2026 – Aug 1, 2026
Fringe Rating: F – Family Friendly (PG)
THE HISS — Lark & Loon
Dates: Jul 24, 2026 – Aug 2, 2026
Fringe Rating: FFF – Full-Fledged Fringe (R)
The Quest of the Dragon — Silå Productions
Dates: Jul 25, 2026 – Jul 26, 2026
Fringe Rating: F – Family Friendly (PG)
The Unanswered Questions of a Post Religious Girl in Her 20s — Tabitha Whittekiend
Dates: Jul 25, 2026 – Aug 1, 2026
Fringe Rating: FFF – Full-Fledged Fringe (R)
The Unseen — Creators Dance Project
Dates: Jul 31, 2026
Fringe Rating: F – Family Friendly (PG)
The Variants — Curious Modern Plays
Dates: Jul 25, 2026 – Aug 2, 2026
Fringe Rating: FFF – Full-Fledged Fringe (R)
There’s Only Two Left — Method: Theatre Company
Dates: Jul 24, 2026 – Aug 2, 2026
Fringe Rating: FF – Fairly Fringe-y (PG-13)
This is Jane — Opera Contempo
Dates: Jul 24, 2026 – Aug 2, 2026
Fringe Rating: FF – Fairly Fringe-y (PG-13)
(Pending Publication of Review) To Be Frank… — Salt Lake Community College
Dates: Jul 25, 2026 – Aug 1, 2026
Fringe Rating: FF – Fairly Fringe-y (PG-13)
Twink or Swim — J’myle Koretz
Dates: Jul 25, 2026 – Aug 1, 2026
Fringe Rating: FF – Fairly Fringe-y (PG-13)
Under Observation — Shaped for Sportive Tricks Theater Co.
Dates: Jul 25, 2026 – Aug 2, 2026
Fringe Rating: FF – Fairly Fringe-y (PG-13)
Editor’s Note: As reviewers are able, other shows will be added to our pool of reviews. If you’re a FRINGE creator, to request a review, please contact scott@utartsjournal.com