Review: Inspirational ‘Dead Fat Corpse’ at Hollywood Fringe Festival

“Dead Fat Corpse,” written by Barbara Lee Bragg and directed by Debra DeLiso, completed its Hollywood Fringe Festival run at the Hudson Guild Theatre on June 27, 2025, offering a funny, emotional, and deeply human exploration of self-worth and identity. The play follows Bubbles, an older obese actress fighting to survive in Los Angeles’s unforgiving entertainment industry. Themes of self-acceptance, uncertainty and resilience run throughout, inviting the audience to reflect on how we see ourselves — and what we choose to tolerate.

From the moment Bubbles, played by Bragg herself, entered the stage and charmed the audience into dancing to Lady Gaga’s “Abracadabra,” the show was fully engaging. Bragg delivered a captivating, vulnerable performance that seamlessly balanced humor with introspection. Her timing and authenticity anchored the piece, creating a character that felt real and relatable.

Catherine Kozlowski also stood out in multiple supporting roles — including Lilith the self-absorbed agent, a call center technician named Chicago, and a police officer. The chemistry between Bragg and Kozlowski was especially compelling during a chaotic FaceTime exchange in which both characters talked over each other without listening, capturing the absurdity of Bubbles’ professional struggles.

DeLiso’s direction was confident and precise. Despite the show’s playful surface, there was a clear undercurrent of melancholy that shaped the pacing and tone. Nothing felt extraneous, and every element served the story. One of the most striking aspects was the creative use of the projector, which enhanced the narrative without overshadowing the live performance. A particularly memorable moment found Bubbles standing at the edge of a mountain, staring up at the stars — an image that lingered long after the lights went down.

Visually, the production embraced simplicity: two chairs, a black apple box and a projector formed the set, while Bragg’s costume — a ballerina dress over a fat suit — became a potent symbol of the character’s burden. Costume changes were effective in signaling shifts in time and mood. Lighting cues were well-calibrated, subtly adjusting the emotional temperature of each scene. While the sound design mostly complemented the performance, there were a few moments when audio cues arrived a little too early or played at an uneven volume, though these were minor distractions in an otherwise polished production.

At its core, “Dead Fat Corpse” is about the struggle to recognize your own value amid constant judgment and ridicule. Bubbles endures relentless criticism and cruelty, but by the end, she confronts her limitations and reclaims her power in a symbolic act of transformation — removing her fat suit before floating off stage. The moment was both cathartic and thought-provoking, prompting me to examine my own life and the ways I measure self-worth.

The audience remained engaged throughout; aside from a pair of disruptive walkouts, the energy in the room was warm and supportive. This production is a testament to the power of theatre that isn’t afraid to be quirky, vulnerable and honest. I left feeling entertained and inspired — and would recommend “Dead Fat Corpse” to anyone looking for a show that lingers in your mind long after the curtain call.

“Dead Fat Corpse” performed as part of the Hollywood Fringe Festival during June 2025 at The Hudson Guild Theatre, 6539 Santa Monica Blvd., Los Angeles.