The Buzz – Reviews – 2015

Armageddon F**k Fest

Heaving Bosom Productions—Warehouse

With a title like Armageddon F**k Fest you go in expecting something, and I don’t think I got quite what I expected—not in a bad way of course. I did enjoy the show. It feels like it hopes it’s insightful enough to make you think. It also feels like it’s trying just a little too hard.

Characters all have their introspective moments—some just a little too lengthy—and there’s very good chemistry amongst the four actors.

One of the biggest issues I had was discerning the difference between what was supposed to be funny, and what was supposed to be meaningful. Maybe that was purposeful, and maybe I was supposed to come out not knowing whether I liked it or not.

Arden Pruden

The Orchid and the Crow

Button Eye Productions—MTC Mainstage

I really didn’t know what to expect here. The show opens with a toe-tapping number, leading me to believe that it’s going to be a fun and humourous romp. While there are many fun moments, the air of the piece is a somber, introspective look into faith—faith in Jesus, God, no one, or Lance Armstrong.

This powerful, thoughtful story is one person’s brave recital of a somewhat taboo topic. Don’t let this one fly under your radar.

Ray Yuen

At Your Own Risk

Alexandra Elliott Dance—Dragon Arts Collective

Before committing to this show, be aware you need to climb 50 steep steps to this venue, and (if that’s fine with you) be sure to book early! This is the smallest Fringe venue I’ve ever seen (capacity 25).

If you get past those two obstacles, you’ll be glad, as this engaging show will keep you entertained.

The presentation has two discrete parts. The first, “to be alone”, is hauntingly beautiful and eerily graceful. Look deep into her eyes and you see an Exorcist type of emptiness. While the drapery and veiling has a sultan’s palatial look, the desolation of the character starkly contrasts with the warmness of the room.

I can best describe the second segment, simply called “MAN”, as primal and savage. This mysterious interaction leaves you wondering what’s coming next.

This is day one of Fringe; I can’t imagine what these actors will look like at the end of the festival.

Ray Yuen

Beau & Aero

A Little Bit Off—Playhouse Studio

This is another great family-friendly show that features the physical comedy of Beau and Aero, played by David Cantor and Amica Hunter. The mime/clown aviators take the audience on a fun-filled 60-minute ride with some impressive acrobatics and a lot of unique balloon tricks. I had no idea you could beat-box or make puppets with a balloon. I salute their creativity!

Murray Hunter

Trampoline

Weeping Spoon Prods.—Playhouse Studio

What do you do when life throws you a pineapple? When your dreams are so vivid that reality and dreams become blurred— what do you do?

Your relationships are fraught with failure because of your affliction. Even your therapist pokes fun at you. Is it real or just a dream? Maybe all you really need to make you snap into reality is a bag of frozen peas? Think about that for a while.

Frank Martin

VIOLET, the Musical

Winnipeg Broadway Th.—CC Franco Manitobain

The gospel is alive in the Franco this year!

This musical featured up-tempo gospel songs that left me tapping my toes. There were numerous times where one soloist would out-belt another, making lyrics really hard to hear, but I was still able to follow along pretty well. Quirky dance moves and characters kept my attention throughout the show.

Kaitlyn Kriss

The Great Canadian Tire Money Caper

Corin Raymond—WECC Acu Hall

What’s an icon, daddy? Well, in this case it’s a small piece of paper bearing the image of Sandy McTire, issued by Canadian Tire and transmogrified by a wonderful storyteller, Corin Raymond (Bookworm, several Fringes ago).

Imagine if you will, a world in which you could pay for your art-making (in this case, time in a recording studio). And imagine if other Canadians shared your dream, or at least wanted to put their shoulder to the wheel and their 5¢ scrip into your pocket.

It’s always been a tough slog to work in the arts, but Raymond sums it up with, YOU HAVE TO WORK YOUR ASS OFF not to have a job (a job as the term is understood by his Presbyterian grandmother). The opening night audience certainly got their money’s worth, and the love flowed both ways.

Ron Robinson

Steven Brinberg is Simply Barbra

Theatre LaB Houston— Planetarium

Simply Barbra is simply very good.

After all, she’s done it all and has the voice to prove it. She is still a “a funny girl” and her one person duet is simply the best yet.

Where, but in Winnipeg, can you get $150 seats to see Streisand for $10.

Frank Martin

Pulling Pints

Cagey Productions—Warehouse

When a show is based entirely around narration it can either be very good, or very boring. Unfortunately, Pulling Pints falls into the boring category.

This show could easily have been a monologue about a trip to England, but with a full cast it dragged, and a 75-minute runtime was completely unnecessary for this show.

What truly made me realize I was bored was when I watched a character describe, through narration, an image that was being projected onto the stage.

It certainly had its funny moments, but when the show dragged it really dragged. The actors were committed, but at the end of the day, I’d rather not go to a show and see people going through standard job training.

Arden Pruden

3…2…1

SpeakEasy Theatre—Playhouse Studio

This play starts with best buddies in a serious drinking fest, heavy on the booze and drugs. Expectedly, the two start with wisecracks and name-calling, typical of tippled testosterone.

There are some genuine giggles here, but really, you’re just laughing at the absurd and not anything deep or thought out.

As the dialogue develops, the characters spill their secrets and their guts are all over the floor. There’s some trouble with the believability of the plot, but overall, it’s executed well.

Ray Yuen