CULTS

Blair Moro—RRC Polytech

Taking striking command of an active and captive flock, Reba guides the audience through a few known and unknown secrets, facts and gruesome discoveries of cults from here and yesteryear (one active in Winnipeg) in Blair Moro’s new work.

Flavour-Aid made available for all that bear witness to the myriad of unfortunate escalations when followers (and leaders) lose their way, CULTS is as informative as it is forewarning, especially with Maple Maga catching a following.

Don’t delay. There might not be a (show) tomorrow.

Stephanie Adamov

La Vie Parisienne

Barclay Productions—Son of Warehouse

Join Bremner Fletcher (story and vocals) and Julian Carneiro (piano) on a trip back in time to 1920s Paris and enter The Royal Box nightclub. We are treated with the story of that age and the amazing artist environment that blossomed with creativity in Paris after the First World War. The story is interesting and is tied together with the songs from the era, which are passionately performed. If you are lucky, you may even get a little champagne to help bring you into the mood. Santé!

Murray Hunter

False Profits

Active Salad Productions—School of Contemporary Dancers

As a Millennial with an advanced degree in public administration, I’m an easy mark for an aggressively charismatic and comedic rage against the capitalist hellscape we live in and how we got here. If this is also your jam, you will be highly entertained as Jeff Leard examines how the fossil fuel industry is responsible for much of the world’s past and current problems.

Leard is such a polished performer that the production requires no more than a man in a suit, a single sobering audio excerpt, and a handful of well-timed lighting cues to command the room.

That said, the show is largely preaching to the choir; an audience primed for a skewering of late stage capitalism may not learn much, and someone who does need to hear the message would probably walk out after the first 10 minutes. Because the show likely wouldn’t convince the uninitiated and offers no solutions beyond a rather silly, if not outrageously sexy, leftist fantasy played for laughs, the ending feels like it’s grasping for vague emotional straws to make us all feel a little better about something we can’t really do anything about. Still, False Profits is a compelling showcase for a magnetic performer with a clear point of view.

Ashley Frantik

Oversharer

Einarson Productions—Son of Warehouse

Kristen Einarson really Knocks it of the Park as she draws the audience into her charming story of life as a late diagnosed ADHD woman and the powerful impact of obtaining a diagnosis and having all the puzzle pieces of her life fall into place. She shares these pieces with her audience, bringing them along on the journey to where she is now…an incredibly gifted, empathetic, funny, vulnerable, kind woman who makes you laugh with her stories- and then suddenly hits home with a moment that brings tears to your eyes.

Her prolific diary entries and photos shine with elements that combine to become “I am Kristen.” Kristen highlights the impact of the “noise” of ADHD-on her life, how people experience her—and the dramatic push- pull of being too much and not enough somehow at the same time. Her comedic timing and structured approach made me learn something, made me laugh, made my heart ache a bit, and oh hell-made me cry. Oversharer was sold out today, on a Monday afternoon, so buy your tickets now, and see this show while you can! Thanks for sharing your story with us!

Lezlie Brooks

Mennonite Metamorphosis: How to become a secular Mennonite in 500 years or less!

BirdsEye Productions—West End Cultural Centre – ACU Hall

Religion isn’t the easiest topic to tackle, and when you pair that with generations of familial trauma, regret and shame, you end up with a pretty heady mix. Thankfully, Sandra Banman handles her story with enough of both humour and care to stick the landing and explore those topics with the respect, but also the tenderness they deserve.

My experiences with Mennonite culture and religion are second hand, but despite that the show was extremely relatable. Some stumbles are to be expected for one hander storytelling shows, and those that occured didn’t spoil the experience in the slightest. It’s easy enough to get a laugh out of someone, or to bring a few tears to the eye, but the skill at which Banman hit both of those notes is something to behold.

Josh Fidelak

The Shelter

Dark Horse Theatre—School of Contemporary Dancers

Dark Horse and the Fringe are essentially synonymous at this point. Traditionally humorous scripts are what we are used to from them and this is definitely a full turn. Yes there are some laughs but this “dark” tale needs to be told. Stand out performances by the entire cast but especially Dave Pruden and Caroline Schaab as the leads. Dave’s tale is heart wrenching and drives a point that needs to be discussed in this world today. There is so much heart in this script, and keeping this spoiler free you just need to SEE THE SHOW. I was at the jam packed 11am show, so get your tickets early because every single one going forward is going to be like this.

Joel Passante

The Ballad of Isobel Gunn

Possum Hollow Productions—PTE – Colin Jackson Studio Theatre

I love opera. That’s what drew me to Melanie Gall’s Opera Mouse (Kids’ Fringe many years ago) as my first exposure to her work. Since then, I’ve seen a number of Gall’s shows but she doesn’t sing much in the opera genre at Fringe Shows.

One of my favourite artists is Sarah Brightman. Yes, I first learned of her as the most famous lead in Phantom of the Opera on Broadway, but it was her actual operatic works that really made her a favourite of mine. Then her career grew, and Brightman started fusing/crossing opera with folk and pop. I love it.

Today, Gall does much of the same idea, blending the soprano notes with the alto-based, folk-like songs. I love the power, depth, and extension of the notes, and when a soprano sings in alto, it’s like driving a high-performance engine and running at 2000 rpm. I want to hear the voice roar at 6000 rpm. With this performance, it was lovely to hear some of those notes come into play. I know she wasn’t even close to full projection today but still, it’s a lovely blending.

The storytelling doesn’t sparkle, but it’s competent. The music shines, and it more than carries the show. The songs are absolutely lovely and Gall reveals that it’s her first Fringe time using original work. This is my favourite Melanie Gall work yet. Brava!

Ray Yuen

69, Emil Amok: Less News, More Life. The Headlines Got Loud, So He Got Personal.

Emil Amok Productions—aceartinc.

One part political late-night stand up and another part personal life story of the son of two immigrants from the Philippines and his career in media bringing him all the way to the Winnipeg Fringe.

At the end of the day the humour and politics are within the sphere of your Kimmel’s, Colbert’s and Fallon’s, so if you’re a fan of those the show comes recommended and if you can’t stand them then this is one to avoid. Emil’s strong admiration of Canada also comes through, which is another good barometer depending on if you find that sort of thing engaging or grating.

Josh Fidelak

ONE MORE TIME

HonourablyUnstable—School of Contemporary Dancers

Satan is our host for a high-stakes game show where a cast of unwitting contestants compete for attention. The sketch-like characters are varied, each embodying a distinctly 21st-century personality flaw, and the game show format provides plenty of opportunities for comedy.

The production, however, is uneven. Hesitant line deliveries and occasionally confusing dialogue make it difficult to tell where the script ends and the improvisation begins. If much of the show is improvised, the cast would benefit from greater confidence; if it’s scripted, tighter rehearsals would help sharpen the pacing. The central premise is strong, but the middle sags, leaving obvious opportunities for callbacks and stronger comic payoffs on the table.

Themes of manipulation and autonomy are present throughout, but they don’t fully crystallize until they are literally shouted out at the end. As a result, the finale asks the audience to invest in a metaphor that never quite comes into focus. Some overly enthusiastic audience members, on the day this show was reviewed, often pulled focus from the performers, who ironically found themselves struggling periodically to reclaim control of the show.

Ashley Frantik

Oversharer

Einarson Productions—Son of Warehouse

I don’t have a lot to say here—everything in the program already explains what you’re going to get. My second time around in university, I Majored and wrote my Honours Thesis in Psychology. I knew quite a bit about ADHD already, well before the public was made much more aware of it like it is today. Everything we learned came from textbooks, journal articles, and the DSM (IV back then). Book learning is one thing, but to hear it from someone directly reveals much more.

I learned quite a bit about ADHD today, and I had a lot of fun doing it. Thanks, Kristen Einarson, and thanks for your “bravery” and “vulnerability.”

Ray Yuen