Big Top Fringe

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This article was published 21/07/2011 (5388 days ago), so information in it may no longer be current.

UNDER THE MANGO TREE

Ra Ra Wai Productions

MTC Warehouse (Venue 6), to Saturday

VANCOUVER’S Veenesh Dubois gives a wrenching performance in this rich semi-autobiographical drama about a girl whose father leaves her behind when he emigrates.

Raised in Fiji, where she remained for six years after her father moved to Canada, Dubois slips into multiple roles, opening as a joyful 10-year-old girl living in the shade of a mango tree that becomes a ripe symbol of hope, despair and loss.

As a child, she lives for the day her father returns to take her to the strange country he describes in his letters. Later, she rages and grieves over their separation, but the real heartbreaker is in her final memento of the things he left behind. Bring a hankie or three. ‘Ö’Ö’Ö’Ö’Ö

— Pat St. Germain

D’N’D THREE POINT FIVE

Red River Serial

Gas Station Theatre (Venue 18), to Saturday

MAGIC and swordplay and montages, oh my: in its third fringe outing, local improv outfit Red River Serial has launched its greatest campaign yet.

Granted, maybe this reviewer just had a lucky roll of the dice: this is improv, after all. But we swear that D’n’D Three Point Five has kicked thing up a notch with a slightly sleeker adventure that gives the cast’s familiar faces plenty of room to play.

There is loads of comic chemistry among the characters, from the fabulous Prince Strawberries to a lovelorn scientist (Kya Dimaline, who just slays in this role) pining for the evil Netheriss. There’s also a bombastic new dungeonmaster, Chadd Henderson, who tosses all manner of misfortune their way.

However this evolving Dungeons and Dragons tale ends, there’s no doubt the misadventure will leave audiences victorious. ‘Ö’Ö’Ö’Ö’Ö

— Melissa Martin

BASH ON REGARDLESS

Winnipeg’s Contemporary Dancers

School of Contemporary Dancers (Venue 24), to Sunday

ELIZABETH Smart, Canadian author of the 1945 classic By Grand Central Station I Sat Down and Wept, loved British poet George Barker with all-consuming passion that made her a social outcast. The womanizing Barker was married, but Smart bore four of his children without regret, always believing their love was real and true.

In Bash on Regardless, choreographer Brent Lott, artistic director of Winnipeg’s Contemporary Dancers, captures Smart’s outsider spirit, erotic ardour, pain, jealousy and idealism in an extraordinary, heart-stopping fusion of movement and text. The latter is exquisitely penned by Manitoba poet Jaik Josephson and delivered by the dancers, who prove themselves compelling actors. Each of five female dancers portrays facets of Smart.

The six-dancer, 75-minute work is a preliminary version of next season’s 97 Positions of the Heart, which is to have a commissioned score, set, costumes and (probably ill-advised) video. It’s already the best, most moving piece Lott has ever done. Please, WCD, don’t mess it up. Only the opening scene could perhaps be clarified.

One artist’s story resonates here as a universal one about bashing on and being true to oneself, in spite of losing a great love. Don’t miss it. ‘Ö’Ö’Ö’Ö’Ö

— Alison Mayes

BURSTING INTO FLAMES

Martin Dockery

Canwest Centre for Theatre and Film (Venue 12), to Sunday

HOT-tubbing in heaven sounds sweet on the surface, but as one man’s paradise unravels, he finds himself fighting back the cracks of eternity.

In his latest madcap monologue, New York’s Martin Dockery has scored a third smash hit… but with a striking twist. He thrilled Winnipeg fringe audiences with 2009’s Wanderlust and 2010’s The Bike Trip, both exhilarating autobiographical pieces.

Bursting Into Flames, however, delves into the realm of the fantastical — and the end result could be Dockery’s best work yet. His writing is razor-sharp and full of wit; his buoyant (and dead) character is the perfect vehicle for his relentless energy, a spirit that pierces straight to the nosebleed seats.

Speaking of which, expect sellout shows each night of this run, so come early. ‘Ö’Ö’Ö’Ö’Ö

— Melissa Martin

WHISKEY BARS

Big Empty Barn Productions

The Playhouse Studio (Venue 3), to July 24

A dingy dressing room is the stage for this musical drama written by and featuring singer/actor Bremner Duthie, out of Paris, France. He plays a cabaret performer, trying to revive a failing career in a fading genre, hoping to persuade a theatre critic to like his show well enough to give him the “one pullable quote” he can use to re-launch his career.

Bremner’s confident performance is a tightrope walk of humour and pathos as he slowly adds layers to the life of his character while dressing to face the terror of the stage.

The powerful songs (music by Kurt Weill 1900-1950) are not always easy (although a couple are almost frothy). Duthie’s version of Mack The Knife, is unconventional with the real horror of its lyrics emphasized by its performance in whiteface. This is quality fringe. Outstanding vocals combined with powerful musical compositions and a strong story line make this one-man show a “don’t-miss.” ‘Ö’Ö’Ö’Ö’Ö

— Wendy Burke

SPEECH & DEBATE

Pocket Frock Productions

MTC Up the Alley (Venue 2), to July 23

The Crucible meets Toiletgate and morphs into a hilarious high school musical in this fabulous comedy from the Winnipeg crew behind 2010 fringe hit (Title of Show).

When thwarted drama queen Diwata (Tatiana Carnevale), earnest school newspaper reporter Solomon (Nyk Bielak) and gay transfer student Howie (Jonathan Lawrence) are united by a political sex scandal, Diwata hatches a plot to spin the tawdry tale — along with the trio’s own mortifying secrets — into a musical performance piece to showcase her considerable talent.

In the hands of this superb young cast, which includes Connie Manfredi in multiple roles, American playwright Stephen Karam’s story connects on every level. Smart, provocative and occasionally moving, it’s also mercilessly funny. ‘Ö’Ö’Ö’Ö’Ö

— Pat St. Germain

SCARLET WOMAN

SunsetGun Productions

Rachel Brown Theatre (Venue 8), to July 24

SPOOFING the film noir thriller is a well-mined genre on its own. You wonder how there could possibly be more gold to find.

But Scarlet Woman, written by Matthew Wells, is a sparkling gem. Look for clever writing in a plot with more twists than any Maltese Falcon wannabe could contain along with two talented actresses, Candy Simmons and Brittany Parker, who never miss a step as they disappear into 12 separate characters. A jacket, a scarf, a shift in posture, and voila, another emerges.

Their black and white costumes stay true to the film noir genre while the dashes of red remind us of the very serious bloodletting going on. The lines come as fast and furious as the costume and character changes. This is witty stuff. It’s very, very funny, but it never disrespects the genre by descending into silliness. ‘Ö’Ö’Ö’Ö’Ö

— Julie Carl