Extreme Players

The Trinity Unhinged—School of Contemporary Dancers

If you are a lapsed Christian or on the verge of becoming one, you will enjoy this show. Foul-mouthed Jesus is sick of sacrificing himself, the Holy Spirit is tired of being the bit player of the Trinity, and the Father is an out-of-control alcoholic with ultimate power over the universe. The Archangel is the only sensible one around them, but his power is limited. What happens when a crisis drives them all into conflict with one another? Come and find out.

Alabama Monster

Trey Tatum—Creative Manitoba

This storytelling show parallels the creeping horror of monster stories, to the inherited horror of intergenerational mental illness. Powerful and hypnotic in intensity, the raw emotion from the constant battles in the sleepy south of Alabama are more than enough to move you more than any campfire horror story could hope to do.

Josh Fidelak

Six Chick Flicks…

Yellow Flamingo—John Hirsch Mainstage

Given that it received a standing ovation, this show is clearly doing something right. But I must say that response took me by surprise. It had its moments, especially the closing send-up of an iconic scene from Dirty Dancing. But like much of its source material, I found it reasonably entertaining as long as I was actually watching it, yet walked away unimpressed.

I’m at a bit of a disadvantage here, and not just due to my gender. I’d only seen four of the six movies being sent up here. I liked them well enough at the time but none made a lasting impression. The only one I’d be at all enthusiastic about watching again is Legally Blonde. The ideal audience for this show should either love these films or hate them, with none of my in-between BS.

The show basically takes turns mocking (it’s not really deft enough to call “parody”) each of the six movies mentioned in the program description. Some of the humour struck me as cheap and mean-spirited, and all of the analysis as shallow. In particular, the political criticisms are very basic Feminism 101 talking points with a generous side helping of cynicism. If you’re on social media at all you know the sort of thing I mean. My response is no doubt coloured by how exhausted I am with being expected to treat messages I’ve been bombarded with daily for years like they were fresh, stunning insights.

It’s not that they’re wrong, exactly. But if you’ve ever been around a remotely feminist discussion where Titanic or Pretty Woman came up, the only thing this show has to say about either that you haven’t heard before is the dimensions of Titanic’s doors. Heaven knows there are valid criticisms, feminist and otherwise, of the picture of romance some of these movies paint. If there really are people who treat these films as a guide to what to expect from real-life romance, they are setting themselves up for disappointment. (I don’t know why you’d do that any more than you’d treat Star Wars as a realistic depiction of the space program, but supposedly it happens.) But those criticisms have been made so many times I’d never have guessed you could get such a positive audience response just by retreading them again. All I could think was that I’ve bloody well heard them. And anyway, on almost any topic but especially romance, I’ll take wide-eyed naivete any day if the only alternative on offer is joyless cynicism.

That said, cliches are cliches because they genuinely resonate with people in some way. Judging by the standing O, these ones resonated just fine with most of the audience.

Jeff Heikkinen

One Great Winnipeg

The Probable Cast—Centennial Concert Hall – Rehearsal Hall

I’m not a big fan of improv—and I hate stand-up. I don’t hate either of those as much as I hate
Winnipeg. Those who know me at all, know that I loathe this city and I count the minutes until I can leave.

That’s what brings me to this show. Whether they’re jabs at Winnipeg or lauds, I’d either love/hate it. Sadly, it was neither. The intro cited a couple of tidbits about Winnipeg but the remainder of the
performance barely had any reference to it, beyond mentioning the name.

Based on the audience, I think the people generally found the show entertaining and funny. I didn’t see it that way but hey, I warned in the first sentence that this isn’t my type of show. If you’re expecting a
tribute or dissection of Winnipeg, move on; if you want stand-up and improv, you’re at the right place.

Ray Yuen

Heart of Stone

Chronically Ch(ill) Productions—Forth Projects

The tale of Medusa with a modern framing, focusing on the horror and injustice of her abusive relationship with the gods. More storytelling than puppet show, the actor’s powerful and evocative monologue managed to fully engage, for the whole 45 minute run time. Highly recommended, this show definitely deserves more love.

Josh Fidelak

Orbituary

new best friend—School of Contemporary Dancers

Another one woman show that comes across as a workshop piece. A basic concept that involves boxes that represent various things, including death, that she moves around and rearranges continually during the act. She was a very competent actress, smooth and at ease on stage and knew her lines flawlessly. I’m sure the concept was very deep and artsy, but didn’t grab me. The problem is there was no development of the unseen other character, or, more importantly, hers, which made me not want to care. If you are going to charge $12 to see one woman move boxes, it should be involving an actual move, unless you give me entertainment. Despite being well rested, I found my eyes glazing over. Nothing here made you feel, experience, laugh, or think, which is why people attend live performances. Don’t promise me “terror” and bring me indifference. At what part did this promised “terror” occur? I really wish I could be more kind, but with the quality of theatre out there, you need to bring it girl!

Lisa Campbell

Hits Like a Girl

Devon More Music—The Rachel Browne Theatre

A lot of people ask me what I look for in a show. As a reviewer, I want to see something well conceived, cogent and well executed—but above all, I want it to be entertaining. As a Fringer, I search for that diamond-in-the-rough. Everyone already knows about 6 Guitars (even though it’s not here this year) and Josephine; I want to walk into the show with no expectations and walk away thinking,
“Wow, that was one of the best shows I’ve seen!” Last year’s winner for me was Devon More’s Flute Loops. Needless to say, one of my most anticipated shows this year is More’s new production. When I saw the last year’s show at the beginning of Fringe, there were only a few butts in the venue. I returned to watch it again with my partner because I loved it so much; by then, the theatre was full. She was no longer a secret by the end of 2018 Fringe; I guess she’s no longer a diamond-in-the-rough. Looking at the number of people in the seats today, middle of the afternoon, her name’s already built a strong reputation.

What I loved about last year’s entry was the wacky character and the ease in which More put together wonderful songs by overdubbing simple notes.

This year’s show begins right off the start with a song, immediately followed by another song. Without the situational development, I now awaited a pure concert, which is fantastic. I love the foot-tapping tunes, coupled with layered lyrics.

Shortly after the second song, More takes us into a different direction, with a coming-of-age
autobiography that is completely unexpected. If you’re expecting more of what you saw last year, don’t be surprised to find it wildly different. The music’s still there, and it’s still great—but there’s a tale and lesson to absorb. Thanks for the share Devon and once again, your show is one of my favourites of Fringe!

And finally, thanks for the special acknowledgement of Treaty 1 with the Anishinaabe, Cree, Dene, Dakota and Metis Nation; it means so much more when it’s personalised, rather than a repeated recording.

Ray Yuen

The Light Bringer

The Light Bringer—The Cinematheque

What drew me to this play was that Bill Pats was its director, and knowing his passions. This is what Laila Lee produces with spades. She had me riveted from the beginning, telling the story of her family, and papa who decided to take this large Muslim family to…AMERICA! Once there, cultures clash and shocks to this Arab family trying to take in what America offers, Disney LANDDDD! Family culture and religion seems to be tantalized and teased by western pop culture, much to the distaste of this lifestyle, making it forbidden. There are a lot of stereotypes of Muslims that she washes away in this production seeing it from a different POV. Laila pours her soul into this story and comes out quite brave and proud of what she has chosen in the end, which was to be a woman first. What ever you do, clear your schedule, come see Laila’s performance.

Kevin Campbell

Spotlight: The Show With No Actors

Shelby Bond—Tom Hendry Warehouse

The show concept is interesting. The entire cast, costumer and stage hands are pulled from the audience, to follow the dictates of the stage manager and a disembodied voice in the sky. The good concept was hampered by technical issues with sound (even more concerning when the actors need to be told what to do), and relies entirely on a funny group of people composing the audience.

The concept is solid, but unless you’re ready to get on stage and steal the show, there just isn’t that much there, in the current iteration.

Josh Fidelak

A Global Village Idiot

Clomy Productions—The Cinematheque

No surprises here—what you see is what you get. This is an adventurer’s relation of his world travels and the surprises he encounters. There’s no lesson to learn or denouement to anticipate; I relate this to
listening to a recount of someone’s vacation stories.

Ryan Clement delivers a competent presentation but could use a bit of a refinement. I suggest a tryst with Toast Masters will get rid of the numerous “ums,” and improve your time of delivery. Slow down Ryan! Speaking so fast, we lose many of the words!

Ray Yuen