The Buzz – Reviews

Love is Blank

Club Soda Improv—The Gargoyle Theatre

I normally hate improv with a passion from ODing on it in early years of the Fringe. I’m So glad I didn’t read the company name or I would have missed out in one of my favourite shows this year. This take off on the Netflix ‘Love is Blind’ show had us screaming with laughter. I missed lines because the audience was still howling from the previous one. Despite the producer’s assurance that you didn’t need to have seen the original show, it really does add to the humour. The trite “I’ve never had such a deep connection!” or “You’re so intelligent!” gushed after a mere hello come directly from the original show and add to the audience’s enjoyment. The cast was fabulous! Each character had unique and obnoxious characteristics that were so off-putting; the chances of finding lasting love were zero but oh-so-funny along the way. We all had a blast and you should get in on the fun too!

Lisa Campbell

A Sexy Pigeon Show

The Lighter Touch Art Collective—RRC Polytech

Some good news and some bad news. The good news is that Colum the pigeon is adorable and charismatic, excellent qualities for trying to win over the entire human race with a big debut show at the fountain. The bad news is that, for all this pigeon knows about humans, Colum has forgotten one of the oldest human marketing principles: sex sells.

That’s not to say that the expectant pigeon-mama isn’t fun or engaging, but for a show titled ‘Sexy,’ with a preamble that assures the audience it is acceptable to hoot and holler during a burlesque performance, it is a bit disappointing that the sole pigeon strip tease is just a very brief opening number. What follows is instead an engaging hour of delightfully pigeon-esque crowd work, with Colum charming audience members through earnest attempts to understand and impress humanity.

While compelling, poor Colum’s inferiority complex that takes up the bulk of the show highlights just how fleeting the most outstanding bits are. Ironically, the recurring question of being good enough sometimes overshadows the performance’s strongest elements such as the wonderful bird physicality and pidgeony showtune finale, that really are outstanding. Colum may not be the sultriest pigeon at the Fringe, but is certainly one of its most lovable.

Ashley Frantik

Burns and Allen: Comedy Duo

Dog and Pony Shows—John Hirsch Mainstage

A charming and comical flashback to the humour of comedy soul mates, George Burns and Gracie Adams. Burns and Allen: Comedy Duo is a heart-warming, family-friendly show for comedy lovers of all ages.

The chemistry of Caity Curtis, director and actor of Gracie, along with Stephen Sim, who plays George, is perfect to portray the vaudeville, husband-and-wife, comedy duo. With witty banter, monologue, crowd work and a little improv, Curtis and Sim deliver impeccable comedic timing and pacing in their storytelling.

Anyone who is nostalgic for vaudeville or who does stand-up comedy should go see this show.

Shane Thevenot

The Cult of the Comfy Wizard

Inner Worlds Theatre—School of Contemporary Dancers

The Cult of the Comfy Wizard is an immersive homage to elder millennial angst. By participating in his rituals, the audience can appreciate the allure of making sacrifices to feel loved and special and safe.

While the premise is engaging, the show’s ultimate takeaway feels less developed. Some recorded audio is difficult to make out, obscuring parts of the story. Beyond the obvious fact that joining cults is a bad idea, the production never quite arrives at a more compelling insight. Even so, it’s an enjoyable exploration of why escapism is seductive.

Ashley Frantik

How Bono Saved my Life (Three Times)

Sonya Ballantyne Entertainment—Club 200

The show title alone piqued my interest from the start. Admittedly, I came into Club 200 knowing more about the venue than Bono (other than shouting his name out during trivia night scrambles)… Sonya Ballantyne soars with storytelling in a first performance venture.

Standing on the edge of a TED-ish talk, her tale about her vision quest to meet, see, touch, and explore the world of the man who “I had never met (but) knew the contents of my heart” explores the importance of vulnerable masculinity, consent, and discovering that our heroes can have traits we inherently despise.

Filled to the brim with heart and truth, Sonya radiates quirky confidence as not-so-beautiful days are discussed and uncovered.

Stephanie Adamov

The Ghost of a Flea

Wych Elm Productions—The Gargoyle Theatre

So much fun! I know it’s an over-used term but this Really is a hidden gem that deserves to be seen and enjoyed as much as we did ! Stephen Gatphoh slams it as the caring (and very athletic) caretaker Osric of a bug infested, should be heritage apartment in the not so nice part of Winnipeg. He’s not above breaking the rules to ensure the well-being of his tenants and sate his need to know what’s going on in every inch of His building. This curiosity leads to horrifying and supernatural discoveries that will thrill and gross you out every step of the way. Bravo!!!

Lisa Campbell

The Truth is Out There: An Improvised X-Files

Tolzbad—CCFM – Salle Pauline-Boutal

The 90’s phenomenon that was The X-Files is the basis for this improv show performed by the people of Club Soda Improv. Using a suggestion from the audience about an event they can’t explain, the plot is set in motion as Mulder and Scully (Kevin Ramberran and Kerri Wolozsyn, respectively) investigate an incident of paranormal activity. The usual tropes are there: the assorted oddball characters, mysterious events in a small town, cover-ups, Mulder’s drive to prove the paranormal, Scully’s skepticism, and (of course) the underlying tension between them. Any X-Files wonk will enjoy the homage to the show as the rotating cast will prove that the truth is indeed out there. Science fiction nerds will love it too.

Karl Eckstrand

The Great & Powerful Tim: Magic Bachelor

Great & Powerful Tim—School of Contemporary Dancers

I almost want to say the magic is irrelevant; this show is simply Great & Powerful fun. The framing device elevates the performance beyond a mere series of tricks, turning the performance into a genuinely entertaining (if not completely unhinged) story-driven experience.

Tim Hoffman is a charismatic performer with a super command of the audience. Unlike many magic shows, the audience participation here is more than simply pulling volunteers onstage (although there is also a lot of that). The crowd becomes part of the performance, helping bring Hoffman’s ridiculous world to life.

Between witch curses, were-mailmen, and a most hilariously protracted analysis of the trolley problem, the show constantly finds new ways to delight. Oh yeah, and there is magic in there too.

Ashley Frantik

Dead Chef

JHG Creative—The Gargoyle Theatre

OMG- I Loved this! Wonderful script, packed with clever wordplay, perfect choreography, brilliant vocals and a delight to the eyes! Absolutely hilarious with a deliciously macabre plot. I could go on and on about how fantastic this show was but let’s skip that and just go! You don’t win Harry S. Rintoul awards for nothing and I’m so proud this is a Winnipeg production. They deserve to sell out! Go make a reservation at the Boiling Water restaurant.

Lisa Campbell

52 Stories

Dave Morris—Théâtre Cercle Molière

I’m a non-parent, which means I’m not equipped to handle children, and I do not know how to coexist well with children. This show is almost sold-out, but my row was empty, save me. Then just as the door closes, a group of five (or six) children (approximately six years old) comes and sits beside me.

This bodes to be marginally better than sitting beside children on a cross-Pacific flight.

To my surprise, the children are paragons of theatre neighbours! Perfectly attentive, still, and seemingly genuinely enrapt with the show. Awesome.

Then there are the adults. The person to my left keeps nodding off, in an obvious enough way that I can tell every time it happens. The person diagonal and in front of me? Also, nods offer, BUT! She wakes up during every round of applause and promptly checks her phone status. The person in front of me? Head bobs.

What’s going on here?!

The stories are fun, but they are not intricate, sticky nor gripping, but they’re interesting—and certainly not coma-inducing! C’mon folks! They’re well-spaced out and entertaining enough—definitely not “everyone falls asleep around me boring” yeesh. Morris, the house lighting isn’t completely down—if you could see all this, I apologise for my neighbours.

The card/memorisation is fun; it’s not a trick. It’s a technique that Morris teaches you how to use, and if I ever want to memorise the sequence of a full deck of cards, I now know how to do it. Yes, it’s a parlour trick, but it works, and there are many less useful things you could spend your time learning.

Back to the stories, they’re adequate. However, when almost half the stories, including the finale (which Morris reveals that he uses all the time), end with him saying, “it’s not a good story.” Dave! Doesn’t that evoke you to rethink your show with the question, “should I use these stories?!” I understand. The final story is very emotional for you—and we all witness it. So sure, that needs to stay. The other tales that end with “it’s not a good story.” Maybe fine-tune them to be good stories?

Generally, it’s a good time—and I’m happy to have shared this experience with pre-teen future Fringers.

Ray Yuen