The BUZZ – Reviews – 2014

Tales She Tells

Spoons in Spotlights—Rachel Browne Th. (Crocus)

This seems to be the Fringe for stepping into the breach. Our billet, Lydia Riding, had to fulfill the stage manager’s ultimate obligation and step in when the actor and playwright Tess McManus suffered a broken jaw in a bicycle accident. Fortunately she really hits the mark in this production.

A personal story weaves through this collection of Celtic Folk tales, and the magic of Irish folklore is matched by the charm and presence that Riding brings to the stage. Each moment has an immediacy and honesty that seems to come from her own experience and the depth of emotion she felt at the time. It’s the only show of the dozen I have seen so far that has brought tears to my eyes.

I really hope that this experience inspires Lydia Riding to pursue a career in acting.

Kevin Longfield

One Man Back to the Future

Shelby Bond—Eckhardt Grammatté (UofW)

The power of Back To The Future is a curious thing. Well, not to me, ‘cause I’m a big fan, and not to Shelby Bond, either, who—as a kid—would go to the theatre and watch the film all day, over and over again (as he told us), and perform it for his family and anyone who would listen.

Now he’s performing it as a Fringe play. Every piece of dialogue by every character. A daunting task, but Bond has some fun with it: Principal Strickland has only one line, repeated over and over, so Bond gives that part to an audience member. He tells us the part of Jennifer, Marty McFly’s girlfriend, will today be played by (as he voiced it) an Australian exchange student, perhaps as a takeoff on the fact a different actress played her in the sequels.

He makes fun of the dated ‘80s soft drinks Marty tries to order in the 1955 diner. Some of this can be distracting to those who just want to hear the movie lines repeated the way we all know them, but we’ll rise above it in the interests of allowing Bond some fun with this whacked-out idea and his stretching it to fringe-like proportions. Sadly, no real effects here, just blinking of the house lights to symbolize the lightning that hits the clock tower, and Bond sings the songs (Mr. Sandman, Earth Angel) himself.

Better stage effects and the original songs would have made this play more special. But Bond’s passion and spitfire enthusiasm make up for any minor complaints. And he really does know all that dialogue; he hit all his marks and didn’t miss a beat. He did ignore the scene about The Honeymooners rerun on TV in 1985 that was brand new on a 1955 set, though. Great Scott!

(Speaking of the sequels, fun info: a girl in line brought a skateboard; she pleadingly noted to her friends, “It’s the closest thing to a hover board—they only have one more year to make one!”)

Beau Hajavitch

One Man Back to the Future

Shelby Bond—Eckhardt Grammatté (UofW)

I think the always charming Shelby Bond may have found his calling! We had a blast and I think the near full house did as well.

For anyone that loved the film (i.e., anyone that saw the film).

John David Gordon

All You Can Eat/The Top?

Gearshifting Performance Works—MTC Mainstage

Based on the description, you know little about what’s to come. Basically, this spectacle delivers an emphatic socio-political message, augmented by dance.

The conviction of the statement is evident but the delivery is a little challenging to decipher at times. By contrast, the dynamic music and power dance routines drive the show confidently.

Although this is an enjoyable learning experience, I would like to see less statement and more dance. I get it—there’s a lot of bad in the world, now show us more of what makes you great performers.

Ray Yuen

Surrounded

The Unexpected Laboratory—Eckhardt-Grammetté Hall (UofW)

FANTASTIC! See this show!

See it because it’s a great story that we all can relate to. See it for the great acting. See it for the amazing choreography. See it because it’s a multimedia extravaganza beyond anything I’ve seen at a Fringe prior.

See it because they are the nicest group of people and I expect big things from them in the future. See it because they came all the way from Colorado and it’s their first Fringe and I want them to come back!

See it because they made me cry. And then I cried again. Seriously, I needed to rehydrate.

John David Gordon

Be prepared to be captivated. KimmyZee once again takes her audience on a thoughtful, poignant, raw, exposing and HILARIOUS journey through Motherhood and middle age.

The night I attended, there was a whole pack of college boys seeking an honest sex education and boy did they get it!!!! Even the Jehovah’s Witnesses were laughing! Throw in her Asperger’s diagnosis and you’ll understand why she’s been so quirky all these years, and not just ‘awkward’.

The script is tight and evidence that Zeglinski isn’t afraid to stare bold faced into her inner child; inner bitch; inner critic; inner everything…and share with us. How many of us can say that we can do this and put ourselves up there on stage, basically naked, and openly laugh at ourselves? Brilliant. It’s not easy to hold an audience for 60 minutes but Zeglinski does this seamlessly, effortlessly and radiantly—in all seriousness, she held my gaze the entire time.

When it was over, I wanted more. You’ll not be looking at your watch to see when the next show starts. Part of the brilliance is that this script and performance reaches well beyond a middle aged demographic and provides us all with a very clever and uproarious sex education— PHEW, answers to things I was pondering.

The minimalist staging approach intentionally draws our focus to Zeglinski’s focused and passionate delivery, and is enhanced with the clever use of minimal props – Director Andrea Von Wichert has outdone herself. This is 60 minutes of ONE WOMAN on stage (no easy feat!) yet, the jocularity you will experience will leave your sides splitting, your own inner critic questioning and your inner comedian wishing you had thought of putting on this show yourself. Not to be missed!!

Raven Heck

Shows like this are why I come to the fringe every year. This is a well-written, well-directed, well-performed gem.

I realize that it might not be to every taste. The narrative is not linear, which means that you have to pay attention. At the same time, the nonlinear time line really enhances the experience if you stay with it. It’s the best choice for this show.

All four actors give great performances in this triangular love story. The comic and serious elements blended well, and I also love that it did not have a pat ending. The set design serves the story well and allows us to travel to three locations seamlessly.

Congratulations to playwright (and actor) Megan Andres, Director Chris Johnson, and the rest of the cast and crew.

Kevin Longfield

Here is a great example of truth in advertising. The program tells you exactly what to expect. Jan Janovsky delivers what he promises, and he does it well.

He had a small audience on opening night, but I expect that will build as word gets around. Humour is a personal taste, so I don’t expect everyone to enjoy his bad puns and nightclub style jokes. His piano virtuosity should please everyone, though. I particularly enjoyed his boogie-woogie (perhaps that explains the company name). He earned the huge response he got from the small crowd, and I would recommend planning an afternoon or evening at the Wag venue where you can see him and some other great performers.

Kevin Longfield

The Winnipeg Art Gallery is a challenge for performers. It is too far from the main action for audiences to decide to see a show on a whim. You have to plan to be there, and that hurts walk-up, especially for relatively unknown performers.

At the opening performance this production had about 10 witnesses. I don’t know the fine points of mime or opera, but I really enjoyed this performer. She has real presence and to this lay person a fine mastery of her craft.

The production also has elements of red-nose clown and modern dance. It has a strong message that requires from the audience some patience and perseverance. It’s a great intimate show. For those tuned in to this style of theatre it is rewarding, but I worry that the size of the venue and the distance from the square will work against its box office potential.

Oh, and for those of you wondering if you can make it back to the square in time to see another show, it ran about 10 minutes less than the advertised time when I saw it.

Kevin Longfield.

If you want to see large cast productions at the Fringe, your options are few. Obviously touring companies can’t afford it. A Small Affair is the second such show I have seen at the Fringe. Shoestring is a local community theatre group who have been presenting theatre for a long time. They take great care with their productions and you can count on them to choose a strong script and to do their best to give it justice.

A Small Affair is a behind-the-scenes look at an underfunded television production. The playwright Bob Larby wrote a number of hit British shows including As Time Goes By. Here the CBC stands in for the BBC, and it seems to fit, although I am not sure that younger audiences would remember The Beachcombers.

Director Katherine McLennan did a great job of keeping the show moving, and the cast did some of their best work, especially the leads.

Kevin Longfield