The Buzz – Reviews – 2015

Folk Lordz

Rapid Fire Theatre—Rudolf Rocker CC

A very different sort of long form improv makes a welcome Fringe return with Folk Lordz.

By pulling from the cultural heritage of both members and adding a third genre from the audience the duo engaged the audience with a 3-pronged onslaught of a Chekhov play, Sailor Moon inspired anime, and Cree origin story (I will let you guess which is which.)

The performers use their impressive command of the chosen cultural tales to take us on an energetic journey. On this particular evening we followed a young doctor on a bleak journey into responsibility in the face of a tuberculosis epidemic, saw our heroic moon daughters rescue a crystal from the C.H.U.D.s, and learned how Bison got his horns and why bees make honey.

Going into much more depth would be pointless as it’s a new show every time but do yourself a favour and hit them up soon for a new take on the improv duo.

Tristan Hartry

Opera Mouse

Sisterscene For Kids—Kids Venue

I have had high praise for Melanie Gall’s adult theatrical efforts in the past. Great stage presence, a professional opera singer with an amazing voice, what could go wrong?

I brought three children with me, two of whom are already Fringe veterans and musically trained. The youngest started off attentive, but ended up rolling on the floor, while the older two stayed tuned for the whole show, and both agreed, “good but not great.”

The plot is sweet and her puppetry very able, but too much time spent getting every audience member’s opinion led to the show dragging in spots. I feel tightening this up, and picking up the pace, would help hold everyone’s attention.

Lisa Campbell and grandkids

Me, the Queen, and a Coconut

Andrew Bailey—Cinematheque

This show is not what I expected or anticipated in any way, shape, or form. The stories were very endearing but I did not realize that a play advertised as stories from Windsor castle would instead be about nothing really, except religion.

The stories were humorous, and the asides were wickedly funny (especially in response to the audience’s comments) but on the whole it felt like I had just watched someone teach a religion class.

Nonetheless, I did enjoy and connect with how quirky and funny the performer was. He was engaging to watch and gave me something to think about long after the show was done.

Kaitlyn Kriss

How Often Do I Dream…

Transitus—The Cinematheque

This show feels like coming home. Katie greets every audience member personally, introduces herself, learns our names, and invites us into what she calls her memory museum, where we are free to roam for a few minutes and place sticky notes around things that spark memories.

She makes a point of remembering the name of everyone in the audience, and continues to remind herself of them over the course of the entire show. She makes you feel like a friend, like you’re all friends, and it’s very comfortable and calming.

That, combined with her thoughts on losing memories and what the mind does as it grows old, make it a very wonderful and very gentle piece.

When she says she will remember and support you, you can tell she really means it.

Arden Pruden

Teddy Bears and Tidal Waves

Bear in a Taxi Productions—Son of Warehouse

Every year, I dread coming to Son of Warehouse—the stifling heat and the densely packed hard chairs always meant an adventure before the show even began. This year, cushions soften the chairs and air conditioning (YES!) vastly improves the experience here. Unfortunately, that’s not enough to overcome Teddy Bears and Tidal Waves‘s weaknesses.

At first, I thought this would be a coming-of-age tale but that never happened. Then I thought there would be a Bear-Waves epiphany, but that never connects either. Borchert’s humour isn’t enough to make this show funny, and her coquettish voice isn’t enough to make this a musical. So what’s the point? I can’t say I know.

Ray Yuen

God is a Scottish Drag Queen III

Mike Delamont—Warehouse

S/He’s back (although S/He’s everywhere at the same time anyway).

Wearing a new power suit (polyester on a hot stage!), the deity hopped (barefoot, thus giving proof that the yeti is indeed a possibility) from topic to topic.

After touching on old favourites—the Americans, our Prime Minister, and the weird and wonderful things to be found only in Winnipeg—eventually all things religious were given a brief opportunity for an examination and occasional drubbing.

New acolytes might have been puzzled by the skittering June bug approach. Old lags who had seen Parts I and II (myself included) might have wished for more focus and new material. Still the full house seemed delighted, and the announcement of a fall show of Parts I and II at Pantages, let alone a possible Broadway appearance, shows God is not dead…yet.

Ron Robinson

Salt of the Earth

Theatre Anywhere—RRC

This one-man narrative spun the audience a very depressing but heartwarming story of the immigrant experience.

I was a little confused at first (it took me a while to figure out that the scenes in blue were the character’s nightmares); but once I settled into the narrative I did begin to really feel for the main character.

That being said, the show was an hour and it felt like it. The story is very dense and there is a lot to keep straight. I had a tough time following along for the first half. Thankfully the actor seemed to slow his pace down in the second half and I was able to catch up. This is not a happy tale but it is worth hearing once.

Kaitlyn Kriss

The Telephone

Naomi Forman Productions—Eckhardt-Gramatté

I am not a fan of opera. That being said, this short opera did make me belly laugh quite a few times.

I felt that the songs dragged, especially the solo from the baritone pining for his love. The encore that was supposed to be a sing-along, ended up being the two actors singing by themselves to a few of their favourite songs.

The singers were very talented and had a high amount of skill. The music was pleasant to listen too as well. If you are a fan of opera you will not be disappointed.

Kaitlyn Kriss

John Bennett: Fire In The Meth Lab

2hoots Productions—Eckhardt-Gramatté

John Bennett is a stand-up comedian on a mission for little brothers everywhere to reclaim their dignity.

I knew I would like the show as soon as the actor sat on the stage and started conversing with the audience 10 minutes before the show began. He welcomed people as they sat down, asked us how our day was, and explained that he doesn’t like how lonely it is backstage or the fact that he never gets to see who we are. He welcomed us into his world and what a fun world it was.

The only complaint I have about this show is that it wasn’t longer. The jokes were hilarious and extremely relatable. This is one of my favourite shows from the Fringe so far, and it is definitely one you should fit into your schedule.

Kaitlyn Kriss

The Death of Brian

theater simple—MTYP Mainstage

Whenever someone puts a “new spin” on old horror themes, I am often unimpressed with the results. But I’m a sucker for watching someone begin their slow descent into being totally psychotic, and happier than ever.

Traditionally, zombies have no mind, but our lead does, and what Ricky Coates does with zombies is fascinating.

Coates is a fantastic performer. You’re completely drawn into the struggle of being an amoral, immortal cannibal with a conscience.

Take the warnings seriously though. Trust me.

Arden Pruden