Moments in Time: A Multi-Media Historical Experience

North Kildonan Community Players—Asper Centre (U of W)

This troupe got an appropriate venue here at the U of W since this show is not a show, but a lecture. As a reviewer, I think my job here is to critique the lecture, as opposed to reviewing the show.

The premise of the lecture lies on selecting monumental moments in time that changed the world. Each moment comes with a brief description and discussion on how it impacted the world. A screen scrolls pictures of memorable events and people in the background, and players move blocks in the foreground, which at times, relate to the topic.

Although the lecture refers to world events, the topics are very American-centric with a smattering of Canadian content. There was nothing outside Canada-US until near the end of the lecture. While the downing of the Berlin wall was an important world event, many consider Princess Diana’s death more of a matter of tabloid news than world-impact.

Neil Armstrong’s words are of course, immortalised—and they were appropriate for the time. However, in today’s discourse, if you want to discuss equality and fairness, sexist terms like “man” (referring to the species) and “mankind” should not be part of the discussion.

Accompanying photos depicted people like Mohandas Gandhi and Nelson Mandela, but there was no discussion on either of them. Some of the “moments” they chose were very curious. Sure, the Nixon scandal and the Lennon assassination were memorable, but were they more important than the signing of the Armistice? The Tiananmen Square massacre? The Bay of Pigs? The dissolution of the USSR? Sorry, but not in the same league. And Buddy Holly’s death is a worldwide notorious moment? Please.

As for the lecture itself, the speaker delivers the message animatedly and well, but needs some serious refining. Basic public speaking 101 dictates that you should not lean on the podium. There were also a considerable number of misspeaks, especially considering that he read from a binder. There’s some much-needed polishing here.

This was an OK lecture but a better choice of topics could have make this a moment in time of the Fringe.

Ray Yuen

Fruit Flies Like a Banana: World Tour

The Fourth Wall—Tom Hendry Warehouse

This trio of talented musicians take the audience on a world tour by performing 15 different pieces related to 15 different countries or parts of the world. If they did nothing but play the music it would have been a great show. However, they amp up the difficulty and maximise the entertainment value by also performing often complex movement and using some interesting set pieces and their instruments as props to make a visual complement for each piece of music.

The sold-out crowd is shown exactly what they are in for with the first piece, a version of The Minute Waltz from Chopin (representing Poland), where all three zoom onto the stage on hoverboards. If you can imagine the RCMP Musical Ride performed by people on hoverboards instead of horses, all while playing a flute (Hilary Abigana), bass trombone (C. Neil Parsons) and accordion (Greg Jukes) it will give you some idea of the precise and amazing choreography involved.

The order of the set is determined by the audience, to add to the interaction.

I would describe the feeling after seeing the show as just “pure joy”.

Murray Hunter

Paco Erhard: Worst. German. Ever.

Paco Erhard—Planetarium

If you saw his sold out show last year, never fear, this is brand new. With his quirky observations of people all over the world, he somehow manages to bring them back to one thing: being German. The strange and irrational views of those he encounters on his many travels give him more material and endless amusement than he can cram into an hour. Next year. He pretends to be unprepared but his show is smooth and polished, warm and folksy, with an ability to poke fun at himself and his native land. He has created a loyal following, as most were there after loving his show last year. If he keeps totally changing it up as he has, he will keep them coming back for more. His act doesn’t depend on being German, but on being funny, and that he most certainly is. Longest line I’ve seen this year and deservedly so. Way to go,  Paco!

Lisa Campbell

Starman

WTFunk Productions—Pantages Studio

Co-written by the performers, Starman, is an examination of fate or preordination, and whether or not it is pertinent to our lives. The play creates a fable that says that when we are in the neverland between life and death, a star falls from the sky, assumes human form, and guides us through, either to continue life or die.

The antagonist, wrestling with his homosexuality, compounded by his strict Catholic upbringing, has tried to commit suicide. The antagonist, the Star, whose job it is to guide him through the process and ultimately recommend his “fate”, is wrestling with her prohibition from humanity, dictated by unnamed powers beyond her. I won’t spoil it, but both characters do come to a resolution.

Ferro Montantino, as the keyboard player, did add to the ambience of the show. I’m not sure if all the music was original but I did enjoy it.

I understand using the convention of a contemporary dance (early in the show), to express an emotional journey, but it did kind of bug me. I appreciate the effort, but I’m not a big fan, and, from where I was sitting, I couldn’t see most of it. Even though it was paired with some lovely choral work, I kind of zoned out until it was over.

A solid show, with dedicated performances and careful attention to detail.

Michelle Cook

6 Guitars

Chase Padgett Productions—PTE – Mainstage

This show has been around a long time (330th episode tonight!) and it still sells out consistently—and with good reason. Padgett is no Jimi Hendrix but he is an accomplished guitarist and he wields the axe expertly. It’s not just the music that elevates this act; the stories and the humour make up a large part of this spectacle. This is a definite must-see.

Ray Yuen

Sticks + Bones

star star theatre—Tom Hendry Warehouse

I’ve found it! That hidden gem, with no buzz, that brings you joy as you stumble upon it and remember why taking a chance is a good thing. This was everything you want in a Fringe play. It was magical and mysterious, telling the tale of a girl mountaineer, lost in the wilds of BC and forced to make a deal with the devil. Puppetry was used to tell the tale and was masterful and playful. Two actors helped propel the story with interludes of acoustic guitar. The audience was most appreciative and hopefully they will spread the word. This charming piece needs to be seen by more. Bear in mind the huge capacity of this venue. If you want to be assured of a seat and see something amazing, this is it!

Lisa Campbell

Edgar Allan

The Coldharts—MTC Up the Alley

Shows like this are why I love the Fringe. It is such an interesting concept and was executed to perfection. Katie Hartman plays a young Edgar Allan Poe, sent off to boarding school, whose plan to ascend to the top of class is stymied by another Edgar Allan played by Nick Ryan. Much of the story is told by songs played by Katie on the ukulele, and her haunting vocals set the mood wonderfully. Both actors movements and expressions combined with the great costumes really add to the performance. I won’t give away any of the rest of the story, but it definitely comes to a Poe inspired conclusion.

Murray Hunter

Tales of the Macabre

Longshot Projects—Dalnavert Museum

Outdoors, in the garden of Dalnavert Museum, is the ideal location for this hour of grim, sometimes sinister tales.

Animated by a death-like figure, Charlie Creeps, our storyteller, launches into seven disturbing stories. With the exception of “The Pear Refused To Fall”, which is a patter poem reminiscent of the bump on the log, the frog on the bump etc., they all deal with some iteration of love. But not love as we would like to envision it. The loves that Charlie describes are rooted in psychosis, marginalization or revenge. A few of the tales left me squirming.

Between each story, the death-like figure came forward to tease, tempt, and tame Charlie. These transitions became an interesting and necessary secondary storyline and served to neatly conclude the evening’s performance.

That being said, I think that the overall tension in the show could have been heightened by a review by the company of the order in which the stories were presented. I also wanted the transitions to be somehow more reflective of the stories. With certainty I would have moved one transition that involved a gift box passed around the audience, from before a story about a gift, to after the story about the gift.

Two talented musicians provided an appropriate ambience for the tales, using a variety of instruments, distorted to create haunting and uncomfortable effects, without interfering with Charlie’s eerie delivery of the tales.

The show does not come with a programme, and that’s okay. But I wish that after their bows, the performers would have at least introduced themselves to the audience.

Dalnavert is a small venue (about 50 seats), so I recommend being there in good time to get a ticket. Also, the company does have a contingency plan in the event of rain.

Michelle Cook

2 for Tea: A British Comedy

James & Jamesy—PTE – Mainstage

The show starts slowly with a few giggles and yuks, but before long, it shifts into high gear, leaving the audience in gut-busting laughs. Part observational, part character and much absurd comedy, these actors expertly wield humour like a sword. That’s no secret to the Fringe world and the shows sell out fast.

Ray Yuen