Philly Fringe 2026: Cannonball presents Izzy Sazak’s TUZLUK

Everything we know about Turkey?

The show begins with Sazak stepping onto the stage. They start speaking in almost a dream-like fashion: This is a face, this is an eye, this is an arm… while pointing to various body parts that may or may not align with their description. Wearing white linen pants, a tank, and blazer, they break their reverie after a bit and introduce themselves and their piece.

The hero of Sazak’s childhood was their father. An important businessman who wore a suit to work, Sazak saw him as James Bond, a hero, a prince, someone saving the world. In a side comment, their father warns them not to make this play, because then everything the audience know about Turkey will come from the show. When I attended, this garnered many chuckles from the audience, whose knowledge of Turkey is probably paltry at best. (In a pre-show handout, Sazak informs the audience of Article 301 of the Turkish Penal Code.)

Deconstructing our heroes

At its core, TUZLUK is a coming-of-age story. Sazak realizes that the heroes of their childhood are perhaps not heroes at all, but morally gray humans with their own flaws and foibles. Like American kids who grow up and realize that the Thanksgiving they learned about in elementary school, with Pilgrims and Indians living in bliss, was propaganda which the US educational system used to hide the genocide of Native people, Sazak discovers and unearths their own dark themes. They take off the rose-colored glasses of childhood, with its binaries, absolute truths, and good-vs-bad perspectives. Sazak seeks nuance and deeper truths.

Directed by MK Tuomanen, this is a strong solo show. It displays the artist’s dynamism as a performer, writer, actor, clown, and choreographer. I could see parallels with other solo shows directed by Tuomanen, such as their collaborations with Chris Davis, which also carry a certain frenetic energy, whimsy, and humor. Despite the nonlinear timelines and nature of this show, the storytelling is clear. There is one section about a dam breaking where I was confused, but otherwise it was quite cohesive. Seemingly random threads are picked up and woven in by the end.

Simple staging

When Sazak steps into the audience for interaction, a technical challenge arises: it’s often difficult to see them due to the lighting setup, with no house lights. This is likely a limitation of producing a Fringe show in a small venue, or maybe it’s a technical glitch that can be solved. The audience interaction felt natural, helping to draw us in and create an intimate environment, almost like being invited into a home.

The props on stage consist of tuzluks. Ranging from miniature to gigantic, these objects transform into other characters, other props, and much more. This simple set design is effective and clean.

For anyone who didn’t fit in

At times serious, at times facetious, this world-premiere solo show defies singular categorization. Anyone who grew up feeling like they didn’t quite fit in will resonate with this brave, thought-provoking, and compelling piece.

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