The Buzz – Reviews

Hockey Sticks and Beaver Pie

Melanie Gall Presents—Théâtre Cercle Molière

Melanie Gall is thinking of calling Winnipeg her new home and we showed her the welcome back she deserves ! It was different to see her stray from her usual, more historic tales and concentrate on us- Manitoba. She relates many unusual facts that make us special. It was hilarious how often the amazed audience whispered “I never knew that!”. As a singer myself, it’s always nice as she encourages us to sing along.

With her operatically trained, beautiful voice and charming stage presence, this work is special, especially if you call Manitoba home.

The show was packed. I literally saw the huge parking lot empty out after her show. We’re obviously on to something great and you should be too!

Thank you Melanie!

Lisa Campbell

Rob and Jenny’s First Date

Dark Horse Theatre—John Hirsch Mainstage

A deeply horny and bricked up play. After some time to establish how and why this restaurant has such fantastically terrible service and engage in slapstick physical violence, we get right into sexual humor and voyeuristic scenarios. The writing achieves what it needs to achieve, and the actors bring confidence to their roles, but ultimately if this is for you depends on how much you enjoy humor that revels in awkward situations, many of them sexual in nature. If that sounds like you, I don’t think there’s going to be a better example in this years Fringe.

Josh Fidelak

Misterman

Prairie Coast Productions—CCFM Salle Pauline-Boutal

With its core theme of the use of rigid conservative morality to justify violence against those arbitrarily deemed unworthy or inferior, Prairie Coast delivers a timely performance of Edna Walsh’s ‘Misterman.’ Rather than finding comfort in religious faith, the character of Thomas wields it punitively with little nuance or remorse. His misery and withdrawal from society is self-imposed, though he fails to recognize it as such. The play is unflinching in its portrayal of moral absolutism and isolation being twisted into superiority and hostility.

The production leans into the play’s thematic darkness with precise use of sound, light, or lack thereof and is anchored by a fiercely committed solo performance. Actor Daniel Tompkins brings impressive physicality and energy to the role, fully embodying a range of characters, with seamless physical transitions that help clarify the fractured narrative. However, while the physical distinctions between characters are clear and effective, his vocal delivery is less varied. Tompkins begins at a high level of intensity and rarely pulls back, which over the course of the play can become overwhelming. A greater range in vocal dynamics would allow for more texture, and emotional build throughout the performance.

That said, Tompkins still elicits empathy for his violent and misguided protagonist. Through his performance, the audience grasps the profound loneliness in his failure to find belonging or connection in his community. This emotional throughline pays off in the play’s final moments, where the actor lands a heavy conclusion with skill and restraint.

This performance is a relevant and unsettling portrait of how easily righteous suffering can curdle into violent judgment, especially when warped by isolation and a desperation for respect from those feeling a lack of power, support, and agency in their lives.

Ashley Frantik

Heart Ripped Out Twice And So Can You!

Linnea Bond—MTC Up the Alley

Magnificent and Memorable! This beautiful, thoughtful, moving gem is my Fringe favourite so far and I’m telling everyone to go!

Linnea Bond pulled me in from moment one and held me rapt to her tearful last words. She was actually crying with her joy of being here. I was too.

Her props were exquisite, she made the whole stage hers and she owned every inch with her dancers lithe body and riveting script. Her concerns were my concerns. I’ve often thought of the ‘hot, hot, hot’ world my grandchildren have inherited. Her astute analysis of the sorry state of the world today, especially the US, were the exact thoughts I hold. This work was so intelligent, thoughtful and just plain theatre perfection. There’s so much to this show but I don’t want to give it away. I want you to experience this masterpiece for yourself. My one small criticism is I didn’t think her song to her baby at the end added anything to an already 75 minute show. No one would sing those words to an infant.

Brava Linnea!

Lisa Campbell

Reviewing The Free Press 2

Happy Capybara Productions—Manitoba Sports Hall of Fame

The “2” felt a bit misleading with this show. I saw the original late in its run last year, so even most of the new bits (about last year’s review, for example) had already been incorporated. It also didn’t flow quite as smoothly as last year, though it’s quite possible for that to be chocked up to opening night jitters. All that being said, this is genuinely a funny show, and a somewhat vindicating take down of the crushers-of-dreams that many reviewers are. I have no doubt this run will become more polished as it goes along, and if you didn’t get the chance to see the show last year, I would strongly recommend taking this opportunity to do so.

Jordan Phillips

The Apricot Tree

Yellow Pie Productions—Son of Warehouse

Part exploration of his past and part acceptance of his future, Chance Sabados has surprisingly high energy for the concept, a welcome surprise for a show about death. Occasionally a bit too bubbly, the tone still fit well with how the topic was presented. The monologue flows well, and the show is clearly well rehearsed between the technical aspects and the confidence that Chance brings to the stage.

Josh Fidelak

RIOT!

Monster Theatre—The King’s Head Pub

This was the very first performance of this new show in front of a crowd, so there were a few missed cues and forgotten lines, but that was OK as Jeff and Ryan Gladstone’s self-depreciating humour about the errors keeps the crowd with them. Monster Theatre is celebrating its 25th year of fun and frolicking shows, and this one fits that bill. Based on a true story about the 1849 Astor Place riot in New York that developed from a rivalry between two actors (one American and one English), this 5 act play steps through the various ingredients and factors needed to create a riot. With a bit of subtext for class warfare and the brotherly battle between the two Gladstones, it is a great show to just sit back and relax with a beer and enjoy the ride.

Murray Hunter

Odds Are

Good Grief—The Asper Centre for Theatre & Film (U of W)

Storyteller and performer Smita Russell guides her audience through a visceral, witty, and honest account of her complex personal journey and statistically improbable tribulations in procreation. In juxtaposing her unlikely series of miscarriages with mythical renditions of motherhood and childbirth, Russell reminds us that what is often treated as a typical human experience can still carry the weight of an epic trial.

Accompanied onstage by a solo violinist, Russell recounts her hero’s journey which, while positively legendary in its sheer volume of unrelenting and continuous misfortune, touches on experiences familiar to many women. Though her cumulative story positions her as a rare statistical outlier, none of the events she describes are impossible for anyone, even in the 21st century. The sheer mathematics of bringing any one life into the world underscores just how genuinely miraculous childbirth remains.

Despite the heavy premise, the piece remains remarkably accessible; neither alienating or too intense to manage. Russell manages to convey trauma with clarity, courage, and moments of seamless levity.

Ashley Frantik

You’re good for nothing… I’ll milk the cow myself

Natacha Ruck—Théâtre Cercle Molière

The title was what drew me to want to see this play. Problem is, the title has absolutely nothing to do with this show. Natasha Ruck of San Francisco does what she says she will do in her program blurb, almost. She tells the true story of three generations of the women in her family.

Ms. Ruck is a very capable actress with a sweet voice and great stage presence. The issue is, her family story isn’t very interesting nor is the play ‘hilarious, shocking or zany’ as the program claims; at least to me. The audience’s tepid reaction didn’t dissuade me of this opinion. I got a chuckle out of her mom taking on the school bully but the fact is, this was an adult assaulting a child, nasty as the child was.

My eyes kept closing, I kept checking the time, dreaming of a double expresso; and it was only afternoon. I kept wondering why she didn’t have a frank friend or coach to tell her the script wasn’t what it needed to be. She’s very capable of so much more.

Lisa Campbell

DOG

Ross McMillan Again—The Rachel Browne Theatre

Local Ross McMillan weaves anecdotes of his four legged friend with the science and history of how and why dogs are man’s best friend. First shows are always rocky, this one more rocky than most, with both repeated technical issues starting with the show itself and missed lines. For anyone who loves dogs it’ll be a good watch, as it’s sure to smooth out in the rest of the run.

Josh Fidelak