Fringe Preview: Miah's Critter Comforts

Entertainment,Opinion,Orlando Fringe Previews,Theater |

May 4, 2026

Editor’s Note: The 35th Annual Orlando International Fringe Theatre Festival will be held May 13-26 at different venues in and around Loch Haven Park and downtown Orlando. Freeline Media will be previewing the shows right up to the festival date.

ORLANDO — The Orlando Fringe Festival without a Queer Cabaret? Perish the thought!

Jeremiah J. Gibbons apparently was thinking the same thing!

Jeremiah, previously known to Orlando Fringe audiences for his shows Ophelia: The Musical and Miah in Love, is back at this month’s festival, to introduce his new Queer ukulele cabaret show, Miah’s Critter Comforts.

Wait, hold on! A ukulele show? Did we get that right?

Definitely, Jeremiah says, noting that the ukulele will be at the center of his solo musical, which he describes as a show about “finding joy and reconnecting with whimsy, even in the face of burnout and
failure.” The musical will have seven shows at Ivanhoe 1915, the stage inside the Savoy Orlando.

What is Miah’s Critter Comforts?

The musical tells the story of Ranger Miah, who happily welcome the animal world to “Camp Creature” so they can “get a breath of fresh nature.” The show features 9 original ukulele songs by Jeremiah.

“At Camp Creature, Ranger Miah knows that being an adult is hard. So, sometimes it’s easier to borrow traits from the animal kingdom to get by,” Jermiah notes. “Why glamourize the hustle when you can lollygag on a lilypad? Gather around the campfire as Miah sings their ditties with their trusty ukulele, from subjects of being a cat on the internet to respecting when a turtle is in their shell.”

Part of his inspiration, he notes, is that “We can so often get bogged down with the weight of existence, overwhelmed in a society focused on measuring your work through your productivity. So, if you’re looking for escapism with whimsy and critters, this show is for you. If you’re looking to escape into the woods and leave it all behind, this show is for you.”

What the story behind Miah’s Critter Comforts?

Intrigued, Freeline Media reached out to Jeremiah J. Gibbons to learn more about his production.

Freeline Media: Tell us how you got involved in ukulele music.

Jeremiah J. Gibbons: When I still lived in Pennsylvania, I learned to play the ukulele as a gimmick for a set that I did singing at a museum. It was a cute little number, and the instrument was easy enough to play. The accompanist of that gig later bought me my own ukulele as a high school graduation present, and it was almost as if they were handing off the power to accompany myself for future sets. From there, it was easy to port from gig to gig, so I ended up writing a good number of original songs as I strummed its strings. When Phoenix Tears Productions was looking for local artists as musical guests for their Ten Minute Tuesdays series, they asked me to perform. I strung together a set list of my original songs and sang my heart out. Phoenix Tears was delighted to have me, and it became a regular gig of mine. So, as I started getting the itch to break out and create a one person show, I figured it would be centered about me seated with my ukulele. Thus, Miah in Love was born, debuting at Orlando Fringe in 2024. And now most people expect if I’m present, my ukulele will be in tow.

FM: What are the challenges (and benefits) of putting on a cabaret through the ukulele?

JG: This show is built for its simplicity. I wanted the show to be able to fit in any space, and that comes down to minimal props, set, and instruments. No matter how small the venue, as long as I can sit on a stool with my ukulele, there’s room for Miah’s Critter Comforts. This does mean a lot is left to me to create the mood, set the scene, transport you with my pathos and music. It also requires the audience to be ready to trust me to take them on a journey with my stories and songs. But I have long been a bard. Weaving a narrative through music and experience is the rhythm of my beating heart. So, I have faith in being able to be one with my audience. Now, specifically with music, I didn’t necessarily need a ukulele. I could’ve put a band together, prerecorded the songs, and sang to canned music. But I appreciate that the music is live, happening in front of you. There’s harmony in the singer and instrument, breathing together in the emotion of the moment. It adds to the makeshift magic of the piece. There’s an authenticity there. That being said, my show is a mix of contradictions. Ukuleles are often known for being relaxing, laid back instruments. They evoke vacations, the lull of the beach, the laziness of a hammock. And perhaps there are some of those vibes in this show. But I am known for my big voice. It carries. So, in my pieces I’m often stretching the expectations of the humble instrument. I belt my face off in a pop upbeat or bellow through a languishing torch song. That contrast speaks to a major theme of the show, with me wanting to protect my peace while the fat cats of capitalism seem keen to bulldoze right through that peace if it means they can increase shareholder value. So though it might seem discordant, perhaps the ukulele mirrors my desire for harmony while my booming voice betrays my cries of frustration. The juxtaposition supports the narrative. One could argue though that in passion I have a way of drowning the ukulele out. Ukuleles are not particularly loud instruments, and can be no match to my big voice. I do my best to keep that in mind and keep balance between my singing and the strumming. But ultimately, when I get to wailing, it becomes about the voice, the uke doesn’t stand a chance. It’s just up to me to check in and make sure those moments are selective, and pull back if I’m drowning the ukulele too much.

FM: . How does Miah’s Critter Comforts differ from your past cabarets?

JG: Miah in Love was my most recent cabaret, and there certainly are a lot of similarities. It’s me, on a stool, with my ukulele, singing songs about how I’m feeling. But Miah in Love was far more literal and significantly more autobiographical. Authenticity is key in all of my shows, and since I was talking about the importance of love in all its forms, I wanted to open up about my personal experiences. I wanted to be a kind of beacon to my community, that you can come from the pits of self loathing imposed by a society that may find you “unlovable” and still find romantic love, but more importantly, learn to love yourself. Though Miah’s Critter Comforts is still personal, it’s definitely not as literal. A lot of the character is still informed by my personality and experiences (and my name is literally still in the title), but I wanted to explore a fictional setting, and thus, fictionalizing myself some as well. It’s like drag; donning my frog beret is like stepping into a fairy circle to enter my fantastical allegory. Stepping through transforms me some as well, while keeping the core of my authenticity. In less whimsical terms, it gives me the space to tell the story I want to tell in a more playful way. And goodness knows, this show is my art needing to touch grass.

FM: Do you hope to be a trailblazer in ukulele queer cabaret, and set new standards?

JG: I certainly hope so. I think the world needs a lot more whimsy, and I think the queer community in particular could use a way to tap back into that childlike joy. A majority of queer content is largely based on being chic and sexy; finding their power in being fierce. That’s really empowering, but it’s not for everyone. We contain multitudes in this community. Many of us enjoy cocktails at the club, but just as many prefer tea at the coffee house. And there are certainly nuances between the overlaps there. So, I’m happy to present a show that has the warmth of a cardigan, the intimacy of curling up with a good book, and the adventure of going on a hike through the forest. Though I am not certain that I am paving this path, it doesn’t feel wellworn. So like a forest ranger, I am happy to lead this campy party through the woods!

FM: What’s next for Miah’s Critter Comforts?

JG: I have intentions of taking this show on the road. I certainly have eyes on local opportunities, like QFest, or virtual ones, like the From Home Fest. I also have dreams of taking this show out of Florida, perhaps nationally, and then internationally. I also have aspirations of this building into other collaborations in a similar space of queer whimsy. I have largely been working solo artistically the past couple of years, and I am very ready to work with others again. But, I am very passionate about this show, and I see a great future for it.

Where Can Audiences See Miah’s Critter Comforts at Orlando Fringe?

Miah’s Critter Comforts will have 7 performances at the Orlando International Fringe Theater Festival at Ivanhoe 1915 (Savoy Orlando), 1915 N. Orange Ave. Tickets are $15 for the show that runs for 60 minutes.

To purchase tickets, log in here.

Miah’s Critter Comforts will be performed on the following dates: