The Container

SgaHdaMdaS—MTC Up the Alley

The very mysteriously short Fringe program description and puppetry classification drew me to this show and I am very glad I went. First a warning, this is an adult show, additionally if you are overly squeamish about bodily functions, do not like someone talking about death, or are afraid of somewhat creepy looking puppets, this is not for you.

For those that get past the warnings, as you walk into the venue, the stage floor is littered with various piles of stuff, in which you can spot a number of puppets. You also hear some eerie pre-show music to set the mood. Once the show starts you will instantly recognize why this is an adult show. I will not describe the costume the performer, WGD, is wearing or the remainder of the first scene as it would ruin the audience reaction. After that opening, she uses various puppets to talk about many uncomfortable topics in very fun and interesting ways. A lot of the talk is improvised and plays off the audience, as it was mentioned no two shows will be the same. Kudos also for the inventive teeny-tiny matchbook sized show program.

Murray Hunter

Magic: The Musical

Magic: The Musical—Asper Centre for Theatre and Film (U of W)

Don’t miss this way-too-much-fun show! If you are a fan of magic, if you are a magic-hobbyist or pro, if you’ve ever seen a magic show, if you’ve ever been to Vegas, if you’re a kid of the 70s who grew up watching prime time variety shows on TV… This show is hilarious. Every single magician or mentalist on the Fringe circuit (and their audiences) must attend! Great for all ages.

Kim Zeglinski

Graceland

Shoestring Players—Planetarium

I was delighted to be able to attend the opening performance of Graceland and would like to share my experience with Jenny readers, as it was entirely different from that of the first reviewer.

From the moment Laura Harrison (Rootie) and Merri-Lou Patterson (Bev) hit the stage, fireworks sparked. These two experienced actors took control of the audience and kept us (most of us) in thrall for the next 50 minutes. Ellen Byron’s script cleverly manipulated our affiliations with Bev and Rootie, first guiding us to relate slightly more to Bev’s position, despite her crass behaviour, and then shocking us with the poignant story of Rootie.

These two actors are amazing. Every one of their moves, grandiose or miniscule, was clear, intentional, and revealing. Not only are they to be commended for their performances but also the director, Maureen Taggert, for making the most of these two impressive thespians.

In the spirit of the statement that “There are no small parts…,” I would also like to acknowledge the brief but nonetheless effectively realistic performance by Connor Hopper as the radio announcer.

In response to the first reviewer, yes, there is an ending, with a clear revelation of who won the contest. I won’t reveal it here because I don’t wish to be a spoiler. Graceland is a tight, cohesive, superbly directed and acted production. I highly recommend it.

Sharon Hamilton

Farrago

Dark Horse Theatre—Centennial Concert Hall – Rehearsal Hall

One element of Fringe that sustains everyone through long days of diverse entertainment is the buzz. Entering a sold-out theatre (only three available seats), hearing the excited discussions of what people have seen and are about to see, prepares Fringers for the dramatic adventure about to unfold.

On most levels, the performance of Farrago that I attended met these expectations. The crowd laughed spontaneously, reacted vocally to the ineptitude of the bank robbers, and were with the actors from start to finish. Mike Seccombe, playwright, co-director, and the leader of the bank robbers, is a seasoned Fringer. His sense of what will please a Fringe audience came through in the actions and dialogue, but what mostly struck me was his (and the actors’) firm delineation of an array of quirkily intriguing characters. Within the cleverly quick changes of plot and tone, each character touched the audience in some way, showing nuances of their character within a rich understanding of their character’s back story and of their role in advancing the plot.

Those who projected well and were clearly audible were most enjoyable. Those who did not weakened the tension of the plot and the energy of the play. Most imbued their roles with crisp, definite movements and intense energy while some did not, with the same unfortunate effect on the flow of the story. The ending was as it had to be but I kept hoping for another surprise – there had been so many good ones.

I should also mention that the venue is a good one – the Rehearsal Room in the Centennial Concert Hall – with a bar and snacks for further enjoyment!

Sharon Hamilton

ImproVision

ImproVision: Meow Chicka Meow Meow—Duke of Kent Legion

To the nice lady George accidentally collided with while playing a sassy dog; we apologize (we know that hurt; you were a real trooper about it). If it makes you feel better, George sprained his foot. Can 3 people perform improv on 5 legs and 2 crutches? We better; $20 from every sold-out performance goes to Craig Street Cats.

The Trinity Unhinged

Extreme Players—School of Contemporary Dancers

The concept for this show was there: The Holy Trinity is divided and the universe is collapsing for it. The actors were, for the most part, doing the best with what they were given, but unfortunately it wasn’t much. The script was rough and needed serious editing, and the direction felt weak. This was the shows biggest weakness, a solid core concept that needed more proper work shopping before it’s ready to be presented.

Arden Pruden

Palabra Flamenco: Fox Woman

Palabra Flamenco—Asper Centre for Theatre and Film (U of W)

WOW! WOW! WOW!

This show is unlike anything I’ve seen before since I began attending & performing in Fringe 30 years ago. The weaving of storytelling with Flamenco is a perfect marriage.

Don’t miss this one.

Kim Zeglinski

The Open House

Snakeskin Jacket—Tom Hendry Warehouse

Set in a quaint family home, a reunion on the parents’ anniversary eventually rotating through the entire cast due to the titular open house, this comedy manages to engross you in the banter and abuse thrown back and forth between the characters. Very well acted and directed, and with the stellar script pulling everything together.

Josh Fidelak

The DnD Improv Show 12

DnD Improv—The Gas Station Arts Centre

Well it wouldn’t be Fringe without some dice rolling action to end your night and this year is no exception! Of course I am referring to the beloved Fringe classic, the DnD improv show. For those who have no clue what I’m talking about, the DnD improv show takes the retro table top game Dungeons and Dragons and adds live actors into the mix. A story is narrated by a player and game master every night while the audience watches the characters go on an adventure. I loved how they did a great job of going back to the roots of the classic game. It felt more like DnD than in years past. The narrator did a great job of fleshing out the world and piping in details. The talent can also not be stressed enough with this cast. The cast consists of master improvisers who were great at adapting and creating amusing scenes. The only weak spot I noticed in the show was the music. Switching this year to what looked like a beat pad and prerecorded synth tracks, sometimes there were a few dead spots. The musician worked very hard to fix the issues but I found the dead spots did take me out of the show. The music is such an integral part of the show that it was very noticeable. I also found some of the scenes went a tad too long. Sometimes the actors would try to get something going but couldn’t get on the same wave length. Luckily, the narrator did a good job of helping those scenes end. The show was full of fourth wall breaks, but for me it actually added to the show. If you like improv and want a good laugh. It’s worth checking out for sure.

Kaitlyn Kriss

Jellyfish Are Immortal Returns

Peachy Keen Productions—The Rachel Browne Theatre

From the expanded land acknowledgement, to help the audience grapple with the ongoing effects of colonialism in this nation, to the dialog free physical performance, to address the ongoing deterioration of the planet we live on, this show earns the designation “unclassifiable”.

Deeply earnest, as the actor said, sometimes you feel so strongly, without knowing exactly how to solve the problem. But perhaps starting with that feeling, and articulating it as clearly as you can, you can make things better. Thought provoking, this show is definitely worth the time.

Josh Fidelak