The Apricot Tree

Yellow Pie Productions—Son of Warehouse

Part exploration of his past and part acceptance of his future, Chance Sabados has surprisingly high energy for the concept, a welcome surprise for a show about death. Occasionally a bit too bubbly, the tone still fit well with how the topic was presented. The monologue flows well, and the show is clearly well rehearsed between the technical aspects and the confidence that Chance brings to the stage.

Josh Fidelak

RIOT!

Monster Theatre—The King’s Head Pub

This was the very first performance of this new show in front of a crowd, so there were a few missed cues and forgotten lines, but that was OK as Jeff and Ryan Gladstone’s self-depreciating humour about the errors keeps the crowd with them. Monster Theatre is celebrating its 25th year of fun and frolicking shows, and this one fits that bill. Based on a true story about the 1849 Astor Place riot in New York that developed from a rivalry between two actors (one American and one English), this 5 act play steps through the various ingredients and factors needed to create a riot. With a bit of subtext for class warfare and the brotherly battle between the two Gladstones, it is a great show to just sit back and relax with a beer and enjoy the ride.

Murray Hunter

Odds Are

Good Grief—The Asper Centre for Theatre & Film (U of W)

Storyteller and performer Smita Russell guides her audience through a visceral, witty, and honest account of her complex personal journey and statistically improbable tribulations in procreation. In juxtaposing her unlikely series of miscarriages with mythical renditions of motherhood and childbirth, Russell reminds us that what is often treated as a typical human experience can still carry the weight of an epic trial.

Accompanied onstage by a solo violinist, Russell recounts her hero’s journey which, while positively legendary in its sheer volume of unrelenting and continuous misfortune, touches on experiences familiar to many women. Though her cumulative story positions her as a rare statistical outlier, none of the events she describes are impossible for anyone, even in the 21st century. The sheer mathematics of bringing any one life into the world underscores just how genuinely miraculous childbirth remains.

Despite the heavy premise, the piece remains remarkably accessible; neither alienating or too intense to manage. Russell manages to convey trauma with clarity, courage, and moments of seamless levity.

Ashley Frantik

You’re good for nothing… I’ll milk the cow myself

Natacha Ruck—Théâtre Cercle Molière

The title was what drew me to want to see this play. Problem is, the title has absolutely nothing to do with this show. Natasha Ruck of San Francisco does what she says she will do in her program blurb, almost. She tells the true story of three generations of the women in her family.

Ms. Ruck is a very capable actress with a sweet voice and great stage presence. The issue is, her family story isn’t very interesting nor is the play ‘hilarious, shocking or zany’ as the program claims; at least to me. The audience’s tepid reaction didn’t dissuade me of this opinion. I got a chuckle out of her mom taking on the school bully but the fact is, this was an adult assaulting a child, nasty as the child was.

My eyes kept closing, I kept checking the time, dreaming of a double expresso; and it was only afternoon. I kept wondering why she didn’t have a frank friend or coach to tell her the script wasn’t what it needed to be. She’s very capable of so much more.

Lisa Campbell

DOG

Ross McMillan Again—The Rachel Browne Theatre

Local Ross McMillan weaves anecdotes of his four legged friend with the science and history of how and why dogs are man’s best friend. First shows are always rocky, this one more rocky than most, with both repeated technical issues starting with the show itself and missed lines. For anyone who loves dogs it’ll be a good watch, as it’s sure to smooth out in the rest of the run.

Josh Fidelak

Papa Ubu

Theatre Incarnate—Théâtre Cercle Molière

Unless you’re ancient like me, you probably never saw the Clint Eastwood classic The Good, the Bad and the Ugly, but you hear the reference all the time, and it’s appropriate here.

First, the good: they went through their roles with practiced precision, despite it being opening day. The polish shows they’re very good actors.

Now for the bad: I missed my chance. This is a licensed venue and I should have brought a drink in, perhaps a double. Maybe some dope—that might have helped me get more (or something) out of this show.

Finally, the ugly: What did I just watch? No, please, someone tell me—what did I just watch? There were some Olde English, Shakespearean kinds of motifs, some absurdity, some surrealism, some intentional overacting, and some I-don’t-know-what. All assembled, what was it? Why was the goldfish’s part so crucial that it was included in the write-up? I really don’t get it and I don’t think I’m the only one in the audience leaving with a blank expression and swirls for eyeballs.

Ray Yuen

100% UnTrueBadour!

Paul Strickland Presents—RRC Polytech

A collector of stories is what Paul Strickland calls himself, and this collection of songs and stories are another fine bunch of them. Even those who are familiar with his performances still get thrown for a bit a loop sometimes, as his stories and songs often take an unexpected turn. He is also very good at slightly changing a common saying or idiom into something a little absurd, which also delights the crowd.

This year he is joined in the vocals on some of the songs by a ‘surprise guest’ (played by Erika MacDonald) which adds just a little extra to the show. As is often the case, all the stories and songs end up tied together in a neat bundle.

Be sure to get your tickets early as the first show on Thursday afternoon was sold out.

Murray Hunter

No Tweed Too Tight: Another Grant Canyon Mystery

RibbitRePublic Theatre—The King’s Head Pub

Great fun! This was exactly what I expected. A hilarious romp starring the very affable and talented Ryan Gladstone who really gets a workout playing Canyon. Taking all those beatings and electric shocks to the balls takes a lot out of a guy.

What really amused me were the increasingly gruesome and always unbelievable situations our hapless, severely alcoholic detective wakes up to from his blackouts. Who opens their bleary eyes to find themselves between the mattress and the box spring? Only our soused hero Grant! This script took a lot of imagination, is extremely fast paced and full of absolutely nonsensical metaphors and craziness.

This isn’t serious theatre and doesn’t purport to be. This is an opportunity to get out and relax and laugh and laugh some more.

Lisa Campbell

The Redemption of Heracles

Chronically Ch(ill) Productions—Planetarium

Every year I see Chronically Ch(ill) productions in the Fringe is a good year.

Hailley Rhoda plays Hera and Megara (with a small bit of pantomime as Heracles with a Ken doll), retelling the labours of Heracles, from slandered and ignored feminine perspective that Hailley is so adept at excavating. The puppets and props that help frame the show are cute, but the core of the show is definitely Hailley’s monologues, powered by a deep rage at the violence women face in the home and the lengths men in the community go to in order to ignore it. Always a highlight, and absolutely worth a watch.

Josh Fidelak

SHIT: The Musical

Misty Mountain Music—Théâtre Cercle Molière

You have a musical with a ludicrous plot, a dysfunctional setting and a curmudgeonly character—what could possibly go wrong? If all goes well, nothing with results boasting fun, whacky antics and jokes—but something does go wrong.

Donnie Baxter’s voice isn’t strong enough to penetrate the hall, so those of us near the back have a very hard time hearing. The auditorium’s ambient musical accompaniment gives an adequate volume but it drowns out Baxter’s voice…

…and this turns out to be a blessing! The content is funny and the lyrics are great, BUT, Baxter can’t sing! I’ve sung a lot of karaoke in my life and almost everyone I’ve sang with, or listened to, sounds better than Baxter, and that’s after four hours of hard liquor in the bars!

Seriously, the voice doesn’t just lilt off-key, it seems to waffle independently of the music. As a musical, the singing forms an integral part of the show, and it needs to hold the show. Other than this major flaw, the experience would have been quite good. My suggestion to Baxter is to hire an actual singer—do the “presentation” yourself and have someone else sing the songs.

Ray Yuen