Longtime Fringe-favorite writer/performer Martin Dockery is back in Orlando again with another brain-bending dramedy directed by Vanessa Quesnelle, which will linger in your mind long after its chilling final fadeout. "The Stakeout" sees two suit-and-tie wearing FBI agents — Dockery as a veteran of the can-and-string era on the eve of retirement, and Andrew Broaddus as a rookie on his first day out of the academy — sitting in a surveillance van, surveilling another van that’s surveilling them right back. After eavesdropping on a distressing domestic conversation, the younger one becomes vulnerable and verbose, triggering an increasingly surreal avalanche of circular conversations centered around cyclically repeated phrases.

As the offspring of an upwardly mobile Singaporean immigrant, a kid who was pushed to fulfill her mother's American Dream of playing  Carnegie Hall by age 12, Charlene Kaye's career instead as a rock star makes her every Tiger Mom's worst nightmare. Fortunately for Fringe audiences, her fraught familial relationships make funny fodder for this autobiographical stand-up set, supported by a slideshow of archival photos and embarrassing text messages. Taking the stage in a gold lamé jacket, Kaye (under Jennifer Monaco's direction) exhibits exuberant physicality, whether she's slinging around her electric guitar, throwing a temper tantrum on the floor, or crouching at the apron to interact with the audience.

Try your hand at Greek lasagna and Greek meatballs.