A Whirlwind of Fame, Absurdity, and Sandwiches.
Michael Kunze’s Infinity Mirror is what happens when celebrity satire meets fever-dream comedy, wrapped in multimedia chaos and served with a side of audience participation (and possibly a sandwich). A surreal deep dive into the rise and fall of fictional Hollywood star Mitch Coony, this one-man show is a riotous, offbeat take on fame, fortune, and Tom Hanks throwing increasingly wild parties.
Before the show even starts, Kunze is already working the room—literally—greeting the audience while making sandwiches on stage. It’s a bizarrely endearing touch, setting the tone for what’s to come: a performance that blurs the lines between storytelling, sketch comedy, and outright mayhem. From Coony’s bafflingly meteoric rise to his ridiculous boy-band past (complete with an original song about, well, very specific desires), Kunze keeps the absurdity dialed up to eleven.
A particular highlight is the show’s recurring motif of Tom Hanks, who, in this alternate reality, is less America’s Dad and more Hollywood’s Ringleader of Debauchery. The escalating levels of his parties serve as hilarious narrative markers, with each step up the fame ladder bringing Coony closer to inevitable disaster. Meanwhile, a bizarre subplot about Coony’s “brother” (who, despite strong evidence, is not a horse) adds a layer of surreal comedy that makes you question reality in the best way.
Kunze’s energy is relentless, and his quick improvisation keeps every audience interaction engaging rather than cringeworthy. The only minor critique? A few moments could be snappier, as the show’s manic energy sometimes dips. But with its mix of satire, music, and sheer unpredictability, Infinity Mirror is a gloriously weird, utterly original Fringe gem. Come for the comedy, stay for the existential Hollywood meltdown—and maybe a sandwich.
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