Fringe Review

“Looking Glass” by Violet Mirage reimagines the story of Jonah through the lens of Shakespearean drama and daytime soap opera, complete with sword fights, secrets, and a heavenly cast of angels and demons. With five actors taking on 28 characters, the show charges full-speed into theatrical excess and manages to stay on its feet.

Each performer toggles between roles with clarity and confidence. Bright costume pieces and well-defined physicality make even rapid-fire transitions easy to track. The character guide in the program is a nice touch, though not necessary, thanks to the cast’s commitment and specificity.

The dialogue leans heavily into Elizabethan rhythm: dense, lyrical, and nearly musical. Some audience members may need time to settle into the pacing, but the payoff comes once the language clicks. Beneath the poetic language lies a surprisingly grounded set of interwoven storylines: rulers who claim divine authority, families entangled in betrayal, and lovers tangled in webs of power. It’s big, messy, and intentionally heightened, but the ensemble’s chemistry holds it together.

The use of space is equally bold. Scenes spill into the aisles, turning the whole theater into a stage. Minimal light cues are used sparingly but effectively, supporting the tone without overwhelming it.

Not every thread ties up cleanly—Jonah’s arc in particular feels slightly disconnected until the show’s final moments—but most pieces land with satisfying clarity. The show’s strength lies in its ambition and sheer theatrical energy.

“Looking Glass” is dense, chaotic, and frequently ridiculous. It’s also clever, well-acted, and unexpectedly cohesive. For audiences willing to lean into the style, it offers a lively tangle of satire, drama, and divine dysfunction.