it all began...


There are those who claim the origins of Uncle Funsy Productions are cloaked in mystery and mythology. Some maintain that clues can be found in the Bayeux Tapestry, the Lascaux Cave paintings, obscure markings on primitive tools discovered in the Olduvai Gorge, and the hidden pictures in Children’s Highlights Magazine. Others swear Uncle Funsy Productions is a front for a secret cabal of left-handed anarchists, whilst others assert UFP is a shill for the Holy Church of Hazel Motes without Hazel Motes. The truth is that Uncle Funsy Productions is as benign as a foam rubber toothpick, a Molotov cocktail made with apple cider rather than gasoline, or a lime ice pop soaked in arsenic. 

The basement of a modest suburban home in northern New Jersey was the actual birthplace of Uncle Funsy Productions. In the late nineteen sixties, Uncle Funsy, equipped with only a semi-functional, hand-cranked mimeograph machine, began producing and distributing leaflets (at that time banned at his high school) which proclaimed, in their entirety: This is a Leaflet. Uncle Funsy Productions later went on to market the completely imaginary and wildy popular Uncle Funsy Fun Box. 

UFP’s foray into music production was the promotion of the mercifully short-lived Calypso/Comedy/Reggae outfit, Fidel’s Marching Marimba Band and Diaper Service, one of the five most popular Calypso/Comedy/Reggae bands in southern Westchester County, NY in the mid-nineteen seventies. The band’s two most well-received songs, “Coconut Joe” and “Darwin and His Beagle” were greeted with at least three “woo woo’s” by discerning audiences at each performance. A second band, The New Rotics, suffered a bitter break up before their first rehearsal and split into two other bands, Cybernetic Junction and The Fabulous Dumbheads, neither of which played nary a note. 

Uncle Funsy Productions then turned its meager talents to patenting novel objects of questionable use. The failure of both the Electric Spoon and Rock and Roll Shoelaces convinced UFP to enter a long period of estivation and hibernation. Cicada-like, Uncle Funsy Productions emerged in 2015, shed its skin, and bored its way into the sweet soft bark that is the Capital Fringe Festival with Wombat Drool, which was surprisingly successful, playing to sold out crowds and warranting an extension. There is no accounting for taste. Undeterred by success, Uncle Funsy Productions returned to the Capital Fringe Festival in 2016 with One Mutual Happiness, a laugh and tear filled drama featuring David S. Kessler and Rich O'Meara, composer extraordinaire. Once again, it was a great success. David, Rich and Kevin O’Meara presented Numesthesia, a comedy with music about synesthesia and perception at the Capital Fringe Festival in 2017. Yet another unexpected success. One day we’ll run into discerning audiences.  

Uncle Funsy and Nu Sass Productions are joining forces this June to bring you Gwen and Ida: The Object is of No Importance, a drama about art, creativity, obsession, and connection.           

Join us for a play that promises to amuse, entertain, and move. Or not.