The official Fringe photo for A Real Piece of Work, which runs at the Theatre in the Round from August 8-16 as part of the 2026 Minnesota Fringe Festival.

Mocking theatre – gently, lovingly, acerbically, and more – is a long-established tradition going back to Classical Greece. The playwright Aristophanes, writing in the 5th century BCE, distinguished himself by parodying and poking fun at the conventions of the Greek tragedies performed at annual festivals in Athens. That his comedies appeared alongside many of these completely serious works demonstrates not just that his audiences were aware of the conventions and tropes being parodied, but also that poking fun at one thing did not mean that the other was not loved.

One such love letter to classic theatre and those who perform it – written for this year’s Minnesota Fringe festival – is Moral of the Story’s production of A Real Piece of Work.

“Speak the speech, I pray you, as I pronounced it to you, trippingly on the tongue: but if you mouth it, as many of your players do.” – Hamlet, Act III, Scene 2: 1-3.

“Madness in great ones must not unwatched go.” – Hamlet, Act 3, Scene 1: 203.

Hamlet was Shakespeare’s longest play, with over 4,000 lines, and also the Bard’s fourth-most popular play during his lifetime (though some scholars argue the accounting all the way up to it being his most popular). Today, it is still one of his most produced plays in a gamut running from middle schools to professional and community theatre. Actor Robin Carlisle spoke with the Arts Reader’s Basil Considine about bringing the play A Real Piece of Work by Eric B. Jacobson to life, exploring the intersection of community theatre and Hamlet.

Official Show Description
When a bumbling community theater group rehearses for their production of Hamlet, one actor tries to help them get their act together. This ensemble comedy is a love letter to community theater.

What are some of the things that you do as an artist?

In addition to acting, I am on the board of directors for the Catacomb Collective, a non-profit that does various spooky events around the Twin Cities, including Haunted Basement, a well-respected local haunt. I’m also the Project Coordinator for The Nameless Island, an upcoming fantasy narrative-based podcast with some amazing talent attached (I can’t say details yet, but keep an eye on my socials for updates!).

This is my first time participating in the Minnesota Fringe Festival, but coming to visit the Cities to see a production during Fringe 2022 (Albino Squirrel Productions’ Turnabout Samurai) is what made me fall in love with the city and make the decision to move here.

What’s a favorite piece of non-Fringe theater that you experienced in the last year, and why?

Dark Pony Productions’ Baron Vordernburg’s Guide to the Para-Normal, which ran at Bryant Lake Bowl in January of this year after a very successful run at the Edinburgh Fringe Festival in 2025. It is a dark (very dark) comedy/horror piece that was unfortunately and unintentionally very close to home at the time it ran locally, with its themes of xenophobia and the hatred it creates.

I was lucky enough to see the preview before they took it to Edinburgh and it has haunted me ever since, in the best way.

What is your role in bringing this show to the stage?

This script was written originally for this production, so as an actor brought in from the first table read, I’ve helped shape the script and in particular, my character of Alex 1, from the script level up.

I hope I bring a positive energy to the show and that I’m as uplifting and inspiring to my castmates as they are to me. On a more basic level, I bring the snark and the reality checks to the show itself–I’ve apparently been typecast slightly, since I was cast based on a previous role that Eric B. Jacobson (the writer/producer) worked with me in.

What kinds of things will the audience experience at your show? What is its general aesthetic?

First and foremost, the audience should expect to have fun. This is a comedy, albeit one with a message–a Moral of the Story, if you will. We do have an allegorical message about the world we live in, but per the director’s wishes, I’ll let the audience figure that one out on their own. You can expect theatre hijinks, grounded but memorable characters, and some physical comedy that is top notch. There’s also heart, feeling, and real emotion, and a surprisingly heartwarming conclusion. Essentially, in a sentence, you can expect a love letter to community theatre.

What’s a favorite moment in this show, and why?

I’m a big fan of the climax of the show. It’s the most beautiful chaos, and I think the audiences will truly enjoy it. It’s also been the hardest part to coordinate, acting-wise, and I think that experience has given the cast a chance to grow and blossom as performers.

What are two other Fringe shows that you are interested in seeing, and why?

Albino Squirrel Productions‘ It’s-a Me, a Musical! because I’m a huge fan of ASP and everything they do, and a parody of Mario in musical format is going to be absolutely hilarious, and Muskie by New Endeavours, because their horror-comedy An Exorcism, Don’tcha Know? was the perfect blend of comedy and horror, and I’m sure they’ve managed to do it again.

What’s up next for you creatively?

I’m currently auditioning for shows to find my next show! I’m also working with the Catacomb Collective to organize horror movie trivia nights, where you can sometimes catch me as host. That, plus the aforementioned [podcast] Nameless Island, keep me creatively fulfilled in-between stage shows.

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Basil Considine

Basil Considine was the Editor of the Twin Cities Arts Reader from 2018-2022. He served as Performing Arts Editor and Senior Classical Music and Drama Critic for the Arts Reader's first five years, before succeeding Hanne Appelbaum. He was previously the Resident Classical Music and Drama Critic at the Twin Cities Daily Planet and remains an occasional contributing writer for The Boston Musical Intelligencer and The Chattanoogan. He holds a PhD in Music and Drama from Boston University, an MTS in Sacred Music from the BU School of Theology, and a BA in Music and Theatre from the University of San Diego.

Basil was named one of Musical America's 30 Professionals of the Year in 2017. He was previously the Regional Governor for the National Opera Association's North Central Region and the 2021-2022 U.S. Fulbright Faculty Scholar to Madagascar.

Latest posts by Basil Considine (see all)

• FRINGE FILE #6: INTERVIEW – Actor Robin Carlisle on A Real Piece of Work and Falling Into Fringe - July 24, 2026
• FRINGE FILE #5: INTERVIEW – Ariel Pinkerton, Mermaids, and The Importance of Living - July 21, 2026
• FRINGE FILE #3: INTERVIEW – Director Casey Marie Holmes and A Woman’s Place is in the House - July 13, 2026