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

The WALK IN THE SNOW: the true story of Lise Meitner

big word performance—Creative Manitoba

Before you know it he’s off, in his abrupt style. If you’re good at processing information very quickly, then you’ll be able to appreciate this show significantly more than I did, because I am not a very fast thinker. Nevertheless, I learned more about science during this show than any of my high school science courses. Jem Rolls tells the story of Lise Meitner, an often overlooked physicist who was most prolific during the era of Nazi Germany. It can take a moment for you to understand that he portrays characters through his physicality, but it’s not completely necessary to understand this scientist’s tragic story. Engaging, powerful, memorable, and just like that he’s out again, in his abrupt style.

Arden Pruden

How I Murdered My Mother

Tomo Suru—The Cinematheque

Simple and effective, this show takes you on the journey of reliving the experience of living with, caring for, and burying your parents. The storyteller’s very noticeable emotion and pauses to regain composure lent a lot of impact to the show, but depending on the viewer could end detracting from the experience. Overall, a very well told tale of a very often ignored topic .

Josh Fidelak

Bamboo

Synergy Dance Production—John Hirsch Mainstage

The emcee, the opening intro and the set makes this feel like a Folklorama show, rather than a Fringe show, not that that’s bad. On the contrary, it’s good. They’re good; they’re very good. It just doesn’t have a Fringe feel sitting in the audience; it feels a bit out of place.

Similarly, the opening singing act seems a bit out of place. They have great voices; they just don’t fit with the rest of the show.

As for the rest of the show, it’s full of energy and fun. They’re exciting to watch and they’re loaded with talent. If you can’t have fun watching this show, you can’t have fun.

Ray Yuen

Jellyfish Are Immortal Returns

Peachy Keen Productions—The Rachel Browne Theatre

I only went to see this based on the buzz this team has had in the past, and fond memories of previous shows. If memory serves, their fans screamed down the house at last year’s Jenny’s. But there was no team, just the charming and funny Sydney Hayduk, solo. She was clear that Thea Fitz-James, who was listed in the program , was absent and had nothing to do with this show; and would be mad if she was associated with it. Says a lot. I’m guessing there is a story here that is not being shared, that might explain why this seemed so thrown together. Sydney started by stating her sexual orientation (who cares?) and her deep concern for the ecology (I care). This was more like a workshop than a show, and there were a lot of unimpressed patrons at this performance. Only one member, a friend, I believe, went up to her after. Not a good sign. I stand in line usually, to congratulate performers. A lot of dance movement, playing with props, cheery smiles, and a costume that would have benefited from a trip to a thrift store. A black crinoline (not tattered pink) and black tank would have actually made her look like the monarch butterfly she was trying to portray. I have seen her in the past and she is definitely capable of far more. As she says in the program “we have more work to do.“.

Lisa Campbell

(Art)ist

Hypothetical Projects—MTC Up the Alley

A washed up playwright grapples with not only the deeply rotten legacy of his decades old one hit wonder, but also the fictional characters the play birthed. Emotional and impactful the play grapples with the issue of creators culpability in idealization of domestic abuse, and all the real world harm that results.

Far more of a drama than a comedy, this show is excellently written, acted and directed. Due to the serious consideration of domestic abuse, this is not the show for someone upset by that topic. 5% of show proceeds are also being donated to the local Women’s Health Clinic.

Josh Fidelak