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Now in its third year, Washington D.C.'s Capital Fringe Festival -- which runs through July 27 -- boasts over 100 productions spread out over several venues. Like all fringes, the quality of offerings varies quite widely from show to show. However, during the festival's opening weekend, I was fortunate enough to attend two very worthwhile pieces, as well as a couple of less engaging ones.

My favorite show was Chocolate Jesus, a collection of four monologues on religious themes, written and performed by members of SpeakeasyDC, which is dedicated to autobiographical storytelling. Artistic executive director Amy Saidman opens the performance with a tale of how she got in touch with her Jewish identity -- starting with being enrolled in a socialist Zionist camp where the counselors put the attendees through simulations that included waking them up in the middle of the night in order to "flee Russia." Eva Salvetti shares a funny but moving account of how the Catholic Church "provided a place to rebel" against her permissive Argentinian parents. In the most bizarre story of the evening, Stephanie Garibaldi talks about a time she spent in Mexico impersonating -- or perhaps actually channeling -- a Mayan fertility goddess. Finally, the charming Travis Wright discusses growing up Baptist and reconciling his faith with his gay sexuality. Each tale contains a wonderful blend of humor and more serious content. While Saidman is the most "polished" performer in the group, all four exhibit a wonderful energy, a real connection with their audience, and a sheer joy of sharing their stories.

Ethan Now, written and directed by James L. Beller, Jr., is a dysfunctional family drama that revolves around the relationship between adult brothers Brad (Mark Ludwick) and Ethan (Majed Sayess). Their father has just died, and the family is convening for the funeral. As the show progresses, a number of long-buried secrets are revealed, including a rather provocative one that had several audience members buzzing as they exited the theater. However, Beller makes a better playwright than he does a director. Several of the production's transitions are awkwardly handled, and some of the staging choices feel forced, which interrupts the flow. Still, the edgy subject matter is well handled by its cast, particularly Ludwick and Jessica Wanamaker as Ethan's wife Meg, who share some of the play's most emotionally complex scenes.

One of the best things about Fringe festivals is the opportunity to visit some unusual performance spaces, many of which aren't traditionally used for theater productions. Sculptor Robert T. Cole has lent the use of his Cole Studio, in which his beautiful metallic art works are displayed both outdoors and inside of the venue. Unfortunately, the show I saw there -- Joey Maranto's Good Enough for Government Work -- was a rather tiresome piece that was more stand-up than solo performance. The writer/performer, who also works as a government auditor, tells numerous lame jokes and anecdotes that poke fun at himself and his fellow government employees. But there's no real narrative thread to hold them together, and the hour-long show wears thin very quickly.

Another performance space I enjoyed visiting was the DC Arts Center, which has a visual art gallery that you can browse upon entering, and a theater in the back. Sadly, Scot Walker's 3 Murdered Clowns, a collection of short plays and monologues, was far less interesting than the "Kid Mutiny" art exhibition currently on display in the gallery. Walker's work deals with the Kennedy assassination, a tour guide's really bad day, and a Congressman involved in a sex scandal. While the show deals with some darkly comic material, it doesn't have the wit or humor necessary to make for compelling theater -- particularly in this lackluster production directed by Catherine Aselford and performed by George Balulis, David Berkenbilt, and Jennifer Mayberry.

New to this year's festival is the Capital Fringe Festival button, which costs $5 and is required for admission into any Fringe show, even if you've already purchased tickets. While not all attendees seem keen on the idea -- and senior citizens don't have to wear one -- the button enables the wearer to receive various special offers at a number of local businesses. For example, I got a discount on a delicious meal at the Latin American-style restaurant, Rumba Café. In addition, proceeds from button sales are shared out equally to Fringe-run venue participants, so the monies go to support the work of the Capital Fringe Festival artists.