The Buzz – Reviews

Babel

Geräuschbiest—West End Cultural Centre-Ventura Hall

With bespoke handmade string instruments, played with bows and the occasional blow, Geräuschbiest leads the Riel Gentlemen’s Choir, who act as an appropriately manly Greek (Sumerian?) chorus through an ancient parable of hubris.

The production’s powerful harmonies and striking visuals are suitable for a tale of biblical proportions. Shouty refrains from the choir punctuate the mounting tension as the performers construct something both solid and precarious on stage, reaching ever higher into the limits of the known world, not because they should but because they can.

The lyrics incorporate passages from Ecclesiastes, echoing a warning from our Abrahamic ancestors on the consequences of flippantly violating the laws of nature purely for egotistical gains. The performance feels less like a retelling than a ritual, breathing contemporary life into an ancient wisdom to sound as urgent now as it must have then.

Ashley Frantik

PANIC – A Live Radio Musical

Panic Players—Théâtre Cercle Molière

This piano-accompanied musical opens with promise, showcasing the two leads’ talent in a hilarious musical rendition of Jane Eyre, which the later supporting cast often struggles to match. Periodic line flubs drag out a few of the already overextended interstitial scenes, sapping the momentum that had been set at the start.

The show is not a locally written production, however some aspects of the script bears mentioning. Its exposition over-explains the plot, leading to some heavy lag between the main points of action, which maybe could have been trimmed to cut down the 90 minute runtime into a more typical festival length. There is also the unfortunate irony of the strongest singer and only female role largely being shelved while the men are talking (or singing) only to reemerge to be the butt of stereotypical jokes regarding makeup or fashion. Most of the script’s one liners are references to historical pop culture, so you might want to study before the show to get in on the jokes. The text is ultimately a flaw of the playwright, but nevertheless stands out.

The set and costume design is a treat, although the use of an illuminated ‘applause’ sign might have prevented more spontaneous reactions during the superb rendition of The War of the Worlds; packed full of fantastic character voices and vocalized sound effects that were worthy of some unsanctioned applause.

PANIC is at its best when it’s the live radio musical it purports to be. The ‘off-mic’ framing narrative unfortunately brings down the energy from those standout elements.

Ashley Frantik

Happy Valley

Cripplethreat—The Rachel Browne Theatre

There was nothing very happy about the place Happy Valley, where Debbie Patterson grew up. It was just outside of Sudbury and was so polluted by the mining and smelting it was condemned and everyone moved out. Patterson covers a lot of ground in this piece, in which one of the recurring themes is how people can attempt to devalue others that they feel are inferior, be it because someone is disabled, Indigenous, or whatever difference they think justifies their belief.

She also focuses on the lasting horrible effects of colonization (driven by capitalists and missionaries), mining towns, and what happens when we do not give the land the respect it deserves.

There is a lot of trauma that gets unpacked here, be sure to read the warning in the Program guide so you are prepared for that going in to it.

The biggest take-away to me was despite all that trauma, you can only be devalued if you let them. That positive note and Patterson’s strength, sense of humour, and bravery make this a very powerful show.

Murray Hunter

Where We Fly from Hospital Beds

Cy-Fi Studios—Tom Hendry Warehouse

Sometimes, emotions shouldn’t be juxtaposed and associatively, that means genres too. Sadness and slapstick? Not very congruent.

How can you not feel for an young teen going through cancer treatments, especially since you do not know if it’s even going to work? Now throw in some wackiness about captaining the Starship Pudding Cup? Sorry—just like in the story—that starship just doesn’t fly.

If you want to tell a sad story, tell a sad story. Take the time and rip out audiences’ hearts. If you want to slapstick, then be silly and get as many cheap chuckles as you can. Trying to do both? It really doesn’t mesh.

Ray Yuen

The FIRST VAMPIRE

Monster Theatre—King’s Head Pub

This is a hard one. I’m a Huge fan of Ryan, his acting, directing and scriptwriting are amongst Canada’s finest. I have and will recommend taking in anything he does. A big problem was the huge ruckus the FIFA fans were making. Though on the floor below, they sounded like they were going to burst in any moment. I was unable to catch a lot of the dialogue. Finals over, those now attending won’t encounter this issue.

What I did hear was witty and well-written. I am unfamiliar with the two performers (Madeleine Humeny and Rebecca Wass) and very familiar with the story; being the horror aficionado I am. They were totally professional and did a very capable job; though there was a lot of yelling we didn’t understand the necessity of.

Having seen everything Gladstone has put on at this Fringe throughout the years, I just didn’t get that ‘wow’ I always get at his shows. The true story is so fascinating and it just didn’t come across that way. I’m looking forward to Ryan’s other production of the ongoing saga of Grant Canyon at this venue. I know it’s going to be a blast!

Lisa Campbell

A Woman’s Guide to Romance Novels

Holly M. Brinkman—The Rachel Browne Theatre

My partner published a book a few years ago about how to write a mystery novel. After I (proof)read it, I realised how formulaic mystery novels and movies are. Now, every time I watch or read a mystery, I see the recurring components emerge.

Holly Brinkman’s show essentially does the same thing, but swaps out the genre “mystery” for “romance.”

The four components are:
1. Meet cute
2. Development (middle)
3. Crisis
4. Happily against all odds

Brinkman goes through each of the components and creates amusing story samples during the process.

I saw her show last year and had lots of fun with how she wove through the plots. This year feels a little more fragmented than in past but it doesn’t diminish the fun of the outing. Curiously, Brinkman uses a laptop and gadgets to control her music and screens, which contributes to the fragmentation and fracturing of the continuity. I’m curious as to why she wouldn’t let the Tech see to all these aspects.

Ray Yuen

Evie and Alfie: A Very British Love Story

Stéphanie Morin-Robert Performance Society—PTE – Cherry Karpyshin Mainstage

To start, Evie and Alfie are adorable beyond description and the performers move seamlessly between the cadence and physicality of their decades-long love story. They elevate a rather typical romance through the ages into something magical. The piece has a nostalgic flavour that is never cliché although relatable; authentic and never mundane. The math puts Evie and Alfie’s birth c.1945, but they could easily be anyone’s nan and pop, with their timeless courtship and marital tribulations, highlighted throughout their stroll down memory lane.

The show’s retro flair does not succumb to traditional stereotypes. Instead, it serves as an excellent reminder that people have always bucked gender roles as seen fit, which feels especially relevant in an era of neo-trad fundamentalists hijacking the modern dialogue on marital and family values.

While billed as a Very British Love Story, this piece ultimately transcends its setting into a universal story about a lasting love, told with warmth, humour, and an affection that lingers long after the clock stops ticking.

Ashley Frantik

Middle Child

SNAFU—PTE – Colin Jackson Studio Theatre

[Editor’s Note: Well this is embarrassing, I was glad I was finally caught up posting all the reviews to the website, and then I realized I had forgotten to post my review of Middle Child. I’m not sure if that is actually ironic, or at least Alanis Morissette ironic, given how middle children often feel forgotten, but this show is definitely unforgettable. I had been telling people it was one of my favourite shows this year so much, I had thought I had posted it.]

SNAFU can always be counted on to produce some very Fringey shows and this outing fits the bill. It is based on the premise that due to smaller family sizes the very existence of the middle child is dying, and the importance of a middle child to family dynamics. We join Kathleen Greenfield, Tony Adams, Jack Widow who portray the three adult children of a rather dysfunctional family that have come together after being apart for many years. They are recollecting their childhood and their relationships through some outstanding physical comedy. It is very original and great fun. There is some limited audience participation, but only with willing participants.

Murray Hunter

Who’s Gonna Push Your Wheelchair?

Karin Fekko—The Rachel Browne Theatre

Karin Fekko has officially reached Fringe mainstay status. Her return to the Winnipeg stage again this summer brings a tale featuring all forms of emotion. Her ability to whisk you into her story through mannerisms, scene setting and just overall feel are a masterclass in this genre. From her debut last summer to now, you can see her growth over the year. This tale will make you laugh, cry and above all feel everything in the moment. A MUST SEE. Welcome Back Karin.

Joel Passante

On Tidy Endings

Pilgrims’ Pieces—The Rachel Browne Theatre

Upon reading the concept In the program I was invested and then seeing it… NO WORDS.

I knew going in it was going to be an emotional roller coaster and I was not disappointed. The repartee between the two leads is astounding. You feel everything that they are putting down. I left with tears in my eyes and haven’t stopped thinking about a powerful moment and amazing speech by Scott Pilgrim who plays Arthur. I know this show isn’t going to be for everyone but it needs to be on everyone’s radar. BRAVO!!!!!!!!!

Joel Passante