My Frozen Heart: A Comic Tragedy

Crosswalk Productions—One88

What struck me first about this play was the intriguing premise – the idea of a film within a play is a fresh take. The performances are strong and energetic – notably the person who plays the female lead actor. I also liked the interplay between the audio interview and the narrative on stage (would have liked to see more of that, actually.) It is a slow build, and some of the conflict between the characters could have been trimmed – but when the tone begins to shift and drives towards its climax, the effect is palpable. I left feeling, and thinking/questioning, how am I complicit in not calling out sexual harassment, misogyny, and other such ills of the patriarchy? Theatre that leaves me thinking is something powerful indeed.

Craig Terlson

Meatball Séance

John Michael—The Rachel Browne Theatre

This kind of show is what Fringe is all about. Not Bouffon, but certainly in the vein of Red Bastard audience interactivity and connection. While the frenetic antics of the performer feel random, his ability to engage the right participants and manage the whole audience is masterful. Yes, yes, yes!

Audra Lesosky

Underneath the Lintel

Winnipeg Thespian Fellowship Productions—Son of Warehouse

While long, the power of the performer makes the story quite spellbinding, despite a couple of technical glitches in the show I saw.

Audra Lesosky

I Married the King of the Underworld and My Mom Freaked

Acts of Grace—John Hirsch Mainstage

I like mythology interpretations and the title and show description sounded like a funny, modern take – and about one-third of it was very clever indeed. The rest was played straight which was much less compelling. Still, there’s a lot of talent here. Would love to see it tightened up and evened out towards the comedic.

Audra Lesosky

Didn’t Hurt

Tonic Records—School of Contemporary Dancers

The program describes this show as a story about a tough upbringing, but it is so much more than that. Certainly it is about the effects child abuse can have, and the child having to deal with that as their life goes on, but perhaps unintentionally it is also about toxic masculinity, how it spreads, and how children learn. This show very clearly spells out exactly how a parent’s actions can rub off on their child, and how the cycle has the potential to continue well into each generation.

The performer seemed to struggle to tell portions of his story, and while generally it is inadvisable to dive that deeply, he was able to hold himself together. Something that was outrageously brave, and incredible to watch. It could use some focus, as he often segued into a lecture more than storytelling. Both can be good, but as a performance they need to be distinct.

Arden Pruden

Spotlight: The Show With No Actors

Shelby Bond—Tom Hendry Warehouse

Saw this because I was curious about how he did it. Despite my best efforts to avoid the light, I was spotlighted as wardrobe wrangler, which is at least in my wheelhouse. The story unfolds as a sweet romance, highly directed by Shelby Bond’s voice over and instructions via headsets to the two leads, who do have limited opportunities to improvise a few lines. Brave experiment, gently done as the intent is not to embarrass anyone. It was a lot of fun being on stage, but perhaps less fun to be in the audience?

Audra Lesosky

A Man Walks Into A Bar

Theatre by the River—The Cinematheque

I was curious about the use of “waitress” as a sexist term that no longer belongs in regular discourse. It all makes sense in the end.

The show takes a while to get going so the first half dragged for a bit. Once you’re over the hump, you’re on the edge of your seat. The show sold-out early so pre-order if you want to catch this one.

And here’s a PSA from me: if you’re ever in the situation where you think you may be in trouble, call 911—you need the police. Texting your roommate isn’t going to help you if things go south fast.

Be safe everyone.

Ray Yuen

The Open House

Snakeskin Jacket—Tom Hendry Warehouse

Randomly saw The Open House because I couldn’t get into a couple of shows that were on my list. Incredibly well acted piece (though perhaps a bit uneven) with crackling dialogue. I usually avoid shows presenting existing pieces at the Fringe, but I’m glad I accidentally saw this.

Audra Lesosky

Graceland

Shoestring Players—Planetarium

Two Elvis super fans compete to be first in line for the grand opening of Graceland, the famous home of the legendary King of Rock and Roll. The characters had an entertaining arc from hating to understanding and supporting each other. Two talented women from different generations complimented each other well. It was touching and funny and everything you would expect a solid two person play with strong writing and acting to be. Worth seeing, but if you are a die hard Elvis fanatic it is not even optional.

Adam Kirk