A Work in Progress

Crosswalk Productions—MTC Up the Alley

What if I had a mystical radio that could relive all the key moments in my past? Going over my previous relationships, where would I be now if I could reexperience the pivotal points with crystal clarity. Would some of those relationships be restored? If knowing the end would be the same, would I relive the heartbreak? If fate is inevitable, then what’s the point? Would I turn the radio on? Or just smash it?

I’m glad they didn’t smash it here—this was a fun journey to take with them.

Ray Yuen

Every Good Story Ends With One

Martin Dockery—Royal Albert Arms

High energy and bombastic storytelling, flawlessly executed by Martin Dockery. As someone without a long history engaging in Dockery’s work I wouldn’t hazard a guess at his regular style, but coming off of last years The Sex Life of Butterflies, it’s extremely impressive to see the range Dockery possesses, given Every Good Story Ends With One’s focus on comedy and passionate storytelling. With both a great performance as previously mentioned and strong writing, this is a wonderful show for anyone who enjoys a good story. Come early, as it will likely sell out, and just remember, if you’ve never written a fringe performer a handwritten letter, you’re a bad person.

Josh Fidelak

me: roar

Alembic Theatre Creations—The Rachel Browne Theatre

When I watch a dance show, I let myself get immersed into its world. I love watching the gracefulness while immersing into the music. When you intersperse storytelling with dance, there isn’t the chance to fully engage into the dance. The story here is so gripping, I would probably drop the dance segments and keep the audience rapt with the narrative.

It really made me sad (in a good way) after watching this presentation. I empathise wholly and I’m angry at the world. We need more people to roar.

Ray Yuen

Long Night of the American Dream

Concrete Drops Theatre—Alloway Hall – Manitoba Museum

Martin Dockery is back with a new script for him and (his bro?) Andrew Broaddus and directed by Marty’s wife Vanessa Quesnelle. Now they came here with a script, he came with a script…sort of. They, he, him explain the whole play, in a play about 2 actors playing 2 actors that are supposedly brothers in real life learning a script. To the point you want pull your hair out! It’s two squabbling actors acting…with a script or no script? The chemistry…or no chemistry?

You decide…you have to go through it with them to decide. Decisions, decisions, decisions!

Kevin Campbell

The Case of the Mysterious Mystery, A Not Quite Sherlock Mystery

Chris Gibbs—CCFM Pauline-Boutal Hall

In this latest Antoine Feval and Barnaby Gibbs adventure, the most mysterious mystery to solve is that of why the celebrated detective continues to partner with Barnaby, his affable but exceedingly dense sidekick. The mystery is solved by telling the story of the case that cemented their partnership.

Chris Gibbs always delivers a fabulous show with clever twists and turns and great physical theatre. This show continues on in that tradition. He also throws in enough backstory for those who have not seen any of the previous shows in the series to not feel left out.

Murray Hunter

A Series of Card Tricks Done in a Row

Brad Micholson Magician—MTC Up the Alley

This show was SO entertaining. The tricks were cool and puzzling and the performer, Brad, was so funny and engaging. The title although accurate, is hardly justice to the flurry of magical experiences in this show. My friend was selected for audience participation and we all had a blast watching how perplexed he was. I recommend this show to everyone looking to be amazed.

Amara Wiste

jem rolls MAXIMUM CRUSOE

big word/ jem rolls—Alloway Hall – Manitoba Museum

Jem Rolls calls himself “a legend of Fringe,” or more accurately, leg-end, and that’s true. If you’re any regular Fringer, you know Rolls. He’s been around for a century and presented a thousand shows, marked by his signature storytelling and narration. Why would you expect anything different this time?

The adventure starts on a remote isle off the coast of India, and the fun continues from there…

Ray Yuen

Otto & Astrid’s Joint Solo Project

Salvador Dinosaur—Pyramid Cabaret

They truly love Winnipeg ( as you should know if you follow them on FB) and Winnipeg loves them back!

If you have seen their show in the past, please don’t let that stop you from attending as it is all new and has evolved in a new direction. While their past schtick was hard core rock and roll; we’re all getting older and Otto and Astrid are astute enough professionals to evolve and adapt. Being less raucous lets the real musicianship and adept physical comedy shine. I always look forward to Astrid’s latest over-the-top outfit. And I never tire of the rather zoftig Astrid’s antics. The way she plops in front of her drum kit and her just plain dirty rendition of her original ‘Tasty Snak’ are hilarious. That woman can really shake her booty (and everything else)!

This may be a ‘joint solo project’ but the magic shines when Otto and Astrid are TOGETHER!

Lisa Campbell

ANATOMICA

Ragmop Theatre—MTC Up the Alley

What if you had a different type of body? Different as in the type of skeleton you had. Endoskeleton (which is our only experience), Exoskeleton, or Hydrostatic Skeleton, which would be the best? Amica Hunter poses this question to the audience in their new solo show. The show starts with a very different way of communicating with some audience members and then moves on to a striptease that goes a little further in a somewhat different way than you would expect.

The creativity in performing examples of creatures with the other two skeletal systems was masterfully done. All in all a very thought provoking show. I notice I have used the adjective ‘different’ several times, but different can be good (especially at the Fringe), and in this case it was great fun.

Murray Hunter

The Last Five Years

Hot Reject Productions—Tom Hendry Warehouse

You know the “showtune sound?” Of course you do! The Little Mermaid oozes with it, same with The Lion King and Beauty and the Beast. As soon as you hear a song from a showtune, you know immediately it spent some time on Broadway, or way, way, way off Broadway! If nothing else, they’re catchy, and often, I find myself humming them. When someone asks, “what are you singing?” You’re almost embarrassed to say, “Under the Sea!”

Surprisingly, it wasn’t until five songs into it before I felt the showtime vibe. Is that good? I don’t know–just different. Some of the tunes were catchy, but some were just ok—not hum worthy for sure. One of the singers was markedly better than the other, but both seemed to lose their key at one time or another. On occasion, they “reached” for that extra octave, and they probably shouldn’t have. I loved the quartet in the background and sometimes, it was fun just to watch them play.

At 90 minutes, I found it a tad long. There were a couple of songs that didn’t fit into the flow and seemed out of place. It would be a much tighter effort at 60 minutes.

The house erupted with a standing “o” after the show. I felt somewhat like a cad being the only one not standing but apologetically, it is not standing material. It’s good, even very good, but not outstanding. I have a feeling that there were a lot of friends and family in the audience propelling the enthusiasm.

Ray Yuen