The Mercury 13

MaxQ Productions—MTYP – Richardson Hall

The real life inspiration for the play is an extraordinary group of women pilots who hoped to be included in the Mercury space program. Unfortunately, through NASA’s lack of belief in their ability to do the job, fueled by the male test pilot environment, they did not get a chance to prove themselves. The story mostly centers around Jerrie Cobb, the first woman to be tested as the male Mercury astronauts were, and Jacqueline Cochran, the first woman to break the sound barrier and who funded the initial round of testing. The show’s author used a number of historical sources to create it and the show program is a great source of information about all the women and the space race of that time.

While the individual performances were good, I think the play itself was kind of clunky. There are many quick short scenes throughout, some of which had to be setup by moving tables or other props around, and sometimes the setup lasted just as long as the scene. There are also some longer scenes, such as a back and forth letter communication between Cobb and Cochran which seem a little awkward and drawn out. Near the end we see a Congressional hearing on NASA’s discrimination, which I believe was based on actual transcripts, to show some of the ingrained culture the women were up against. The hearing also shows they were also fighting an unexpected enemy as well. The play concludes with the completely opposite way in which the Russians selected their first female Cosmonaut. Perhaps the story is a little too big for the format and time available in a live Fringe show which makes it hard to convey completely.

Murray Hunter

Erik de Waal’s TROLLS, BULLIES & ROCK STARS or A Kerfuffle in a Doodlesack

ArtsDiva Productions—Alto – Portage Place

The Fringe program shows de Waal’s photo with a giraffe puppet, which is his stock photo for the kids’show.

THIS IS NOT A KID’S SHOW!

The Fringe made a mistake and published the wrong photo; this show is not suitable for children.

Erik de Waal’s command of story telling dominates the Fringe annually; he is one of the best narrators in the business. Having seen many of his shows, today’s rendition probably witnessed more tongue-slips than cumulative of any year’s run. Let’s just put that one on opening night rough edges.

This show’s content holds a vaultful of disturbing images and scenarios. Sadly, these tales are not just stories—they occur in real life. It’s frightening and horrible and hopefully, living these events with de Waal for one evening will help slay this behaviour from society.

Ray Yuen

Goodbye My Love

SuperIce—Le Théâtre Cercle Molière

Somewhere between a lounge singer, and your funniest relative taking over MC duties at a family social, this show was a breath of deep 70s nostalgia. If the concept of watching a man sing old tunes (quite well) in between making jokes and bantering with the audience (also quite well) calls to you, this is the show to see.

If that concept does not call to you, the show is an hour and 15 minutes long. And it’s a long hour and 15 minutes.

Josh Fidelak

Operatic Panic Attack

TJ Dawe—School of Contemporary Dancers

If you don’t see T.J. during the Fringe, you really aren’t doing it right! Known as the Fringe God, this absolute sweetheart of a man manages to stay humble, human and oh-so-engaging. His fame is entirely deserved; and he is the hardest working person on the Fringe circuit, with his hands on many other shows as well.

This new show introduces some new anxieties, musicians, experiences and interests. Who would of thought he had a love of opera? He is so popular because he is so human, so relatable; managing to sincerely make you feel what he feels. His story telling talent is monumental. He was in tears as he bared his soul, his weaknesses, his triumphs and his failures in relationships, Theatre and life. If you only see one show during the Fringe, I would suggest this with confidence. Enjoy!

Lisa Campbell

Barney Morin’s: Canadian Guide to La Vie

River Road Productions—Le Théâtre Cercle Molière

Stand up with a message, mocking classic Canadian tropes while questioning the basic functions of colonialism in Canada.

The show is very hit or miss, and Barney felt unpolished. A number of jokes didn’t have the punch they required to really make sense, and noticeable stumbles robbed a number of punchlines the impact they deserved. The commentary on land theft and the responsibility of allyship to our indigenous populations was welcome, but occasionally ended up failing in execution. By far the most standout portions of the show were prerecorded comedy segments, which had the polish they needed to really stick.

Josh Fidelak

The War of 1812

Morgan Cranny—MTYP – Mainstage

This is reprisal of last year’s hit, with new bits, so don’t hesitate to see it a second time, as I did. There is plenty new to entertain. You just can’t lose with the veteran, mega talented cast of Wes Borg (3 Dead Trolls), Mike Delamont (God is a Scottish Dead Queen), Morgan Cranny, and Rod Peter Jr. Under the premise of Pierre Burton endeavoring to educate grade 8 student Wes as to why he should be proud to be Canadian, much sweaty, silly, musical hilarity ensues. Non-stop action with an anything goes attitude, multimedia, improv on the fly, and rollicking, musical fun. Delamont, as a coy, huge, horny Laura Secord was a favorite of mine. This is going to be selling out again, so do what you need to do to treat yourself.

Lisa Campbell

The Robber Bridegroom: A Grimm Fairy Tale

Chimera Theatre—Le Théâtre Cercle Molière

Rhythmic warnings, silent stalking and horrifying endings. Powerful and effecting, the show featured fantastic lighting, sound and direction. If you are interested in slow burn creepy and the macabre this is the show for you.

Josh Fidelak

EYE CANDY

Merkin Sisters—MTYP – Mainstage

I will see Stephanie Morin-Robert, of the famed Merkin Sisters, any chance I get! She always pushes the envelope; and is the epitome of fringey. If you are of an extremely delicate nature, you may not appreciate just how far her boundaries extend, but anyone with a true love of the unique, will be delighted with this show.

Many in the audience did not recognize her as she mingled with the crowd pre-performance, as she was sans the full pubic hair costume she is famous for. Once seen, never forgotten.

It was different, but lovely to see her perform solo, as she shares the wild highs, lows and life-threatening events of her life on the Fringe circuit while pregnant, billeting, experiencing health crises, giving birth, often without her partner Allistair Knowles (of James and Jamesy). The extent of her love for her fellow Merkin sis was so sincere and heartfelt. Her use of her missing eyeball socket (yes, she lost an eye to cancer at age 2), and many other various body parts to represent the baby she was carrying had the crowd cringing and cracking up simultaneously.

Outrageous, heartwarming, and just plain talented, you should never miss an opportunity to treat yourself to an hour like no other. Fresh breast milk and flying eyeballs anyone?

Lisa Campbell

The Great & Powerful Tim: Clue Dunnit?

The Great & Powerful Tim—The Cinematheque

Set in 1926 (despite the magicians cell phone), this comedy magic show simultaneous manages to elicit laugh, thrills and chills (from the constant stream of audience members forced onto stage to participate.)

The audience participation was by far the funniest part of the show, the young heckler in front stealing the night. Well worth the price of admission, as long as you’re not shy. Or good at hiding.

Josh Fidelak

Graceland

Shoestring Players—Planetarium

I would love to give you a reason to go see this, but I can’t. It’s not bad, but not rewarding either. It’s biggest flaw is the lack of a conclusion, which could have redeemed this show; and made it into something I could recommend. The fault lies not with the actors, but the script by Ellen Byron. It’s a two woman show, with Merri-Lou Patterson being entirely capable, skilled and charming. Laura Harrison flubbed many lines but recovered immediately and professionally. This was the first performance, so I will give that as her excuse. Both women did a fine job of developing their vastly different characters into people you could like, and relate to. The props were used to great effect, especially the wig and pillow. But in the end, this was a waste of time and talent. A shame.

The story flows nicely along but comes to a confusing, abrupt, dead stop. I had so many questions, and the ending made no sense because there was none. I was not the only one who felt bewildered. Everyone I talked to after the show, which ended 10 minutes early, said the same thing. The program asks how we feel about the end result, but there is none to react to. Why did Bev take and leave what she did, where did she go, and who won the contest? Too many questions and no answers. My main question is why did I go?

Lisa Campbell