Listen, chum: here are some more fringe play reviews

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This article was published 22/07/2024 (411 days ago), so information in it may no longer be current.

1NCE UPON A LIE: PAUL STRICKLAND

Paul Strickland Presents

Planetarium Auditorium (Venue 9), to Sunday, July 28

Be careful what you tell Paul Strickland before a show, when he, as he later confesses, wanders “shopping” for stories. You could end up in his act.

Or is the hitchhiker with the fantastic name — no spoilers — sprung purely from this veteran storyteller’s imagination? Could he possibly have a real uncle as wonderful a foil as Uncle False, familiar to fans of this American’s many award-winning shows and recordings? Surely not?

Either way, it’s a win. Kentucky-based Strickland is a craftsman of story, period. As relatable as his characters are in trailer parks and at country crossroads, the two longest stories in this 57-minute show are drawn from classics parsed for a modern audience. One is a mother-son tug-of-war that whirls around fountains and chandeliers. Another puts a quietly satisfying new ending on the Brothers Grimm tale The Elves and the Shoemaker. In the end, Strickland confesses to the audience that would give him a standing ovation that he just likes to make up stories. Thank goodness. 🐟🐟🐟🐟

— Denise Duguay

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7 MINUTES IN KEVIN

Wackatoolis Incorporated

Red River College Polytechnic (Venue 11), to Sunday, July 28

After some heavy-metal misdirection and a lounge-smooth piano and vocal intro by Leif Ingebrigtsen, Kevin Gillese enters the theatre with dramatic flair.

And re-enters and re-enters, breaking the fourth wall so often that it’s clear the audience is a key collaborator long before the self-described improv guy points out this is first solo scripted show. He warns the material is dark, the opinions extreme, the pandemic too present in his material about a guy trying to stay positive on the edge of despair. He even apologizes after his reading of the magnificent poem Good Bones by Maggie Smith.

But an urge to beg Gillese to stop apologizing might be misplaced. Is this hour-long show, where he checks in with the audience and consults his notes throughout, really under construction? Or is this his narrative sorcery drawing us into collaboration, into community? Either way, go. His acidic one-liners, as Ingebrigtsen tinkles on the Roland piano, are especially not to be missed. 🐟🐟🐟🐟

— Denise Duguay

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BLOODLINE

Taylor Presents

Dave Barber Cinematheque (Venue 7), to Sunday July 28

Los Angeles-based, award-winning playwright, actor and director Paris Crayton III takes centre stage in this gripping 60-minute solo show. This semi-autobiographical monologue delves into the lives of three generations of men, all named Paris, exploring their struggles with love, identity and family legacy.

Crayton brings each Paris to life with raw authenticity and emotional depth. From Paris Sr., a Mississippi sharecropper chasing love, to Paris Jr., an animal technician grappling with fatherhood, and Paris III, a struggling artist searching for connection, Crayton navigates their stories with a poetic touch. His performance is captivating and evocative, blending moments of humour with scenes that stir a range of emotions.

With minimal props, Crayton’s seamless transitions among characters are nearly flawless, adding a lyrical quality to the narrative. He touches on Black masculinity with remarkable tenderness, offering a nuanced exploration of the complexities of identity and familial bonds. While Bloodline is engaging and heartfelt, Crayton’s exceptional talent and the show’s emotional depth make it a standout experience. 🐟🐟🐟🐟🐟

— Thandi Vera

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HERPLEASE

Three Gallows Theatre

Rachel Brown Theatre (Venue 8), to Saturday, July 27

Any parody of fringe would legally have to include a person in a vulva costume. Luckily, the ubiquity of these labial lesson plans doesn’t deter a new wave of third-gen feminists from suiting up.

Sex positivity, trauma, reproductive rights, as well as the push and pull of everyday vagina business all get covered in this zippy, unzipped riot. Also covered are members of the front row in a water-like substance.

Unless you are a prude, you might bring all the young adults you can find for some funny, entertaining and ultimately dead serious topics handled like a boss and in a deeply relatable way.

With the loss of both Dr. Ruth and Sue Johanson, sex talk is needed more than ever, and although Katie Tobie is a trained clown and not a doctor, her info is sound, her advice deeply personal and her returning show as utterly marvellous and moist as a red velvet cake. Important stuff. 🐟🐟🐟🐟

— Lara Rae

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JUST FRIENDS

Lavender Theatre Productions.

John Hirsch Mainstage (Venue 1), to Sunday, July 28

Winnipeg’s Amber Landry and Jill Kooymans have put together a nice suite of songs in a modern musical style. The plot, as such, involves queer couples and the lyrics wittily and effectively convey both the touching confusion of this first generation of youth with the courage to look at sex and gender and speak up about their likes and needs in an adult way.

One song (no spoilers) has a great punchline that got the show’s single big laugh — which is fine: the work is more drama than anything, although some of the drama verges on, well, drama.

Massive potential. One wishes all the pitch issues, especially in four-part harmony, could be blamed on jitters, but some of the cast are just more assured singers than others. But it’s still pretty close to a pro show for all that. 🐟🐟🐟 ½

— Lara Rae

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LOVE, DEATH + RASCALS

Crosseyed Rascals

One88 (Venue 23), to Saturday, July 27

Improv is always a mixed bag. Love, Death + Rascals is literally that, with a trio of activity-stuffed gift bags providing the structure of the show.

In theory, it’s a clever way to keep the momentum going without having to rely too heavily on crowd-generated prompts (although there’s still plenty of audience engagement).

In practice, it’s an unwieldy format that leaves a lot to chance and can result in much repetition — three guessing games in an hour-long set is too many guessing games.

The show is basically a collection of improv games, which feels more like sitting in on a rehearsal than a polished production. During the opening performance, the five-member troupe of seasoned Winnipeg improvisers appeared to be figuring out the logistics on the fly. Moments of high-energy hilarity were often overshadowed by clunky segues. The audience should be in on the joke, not run the show. 🐟🐟 ½

— Eva Wasney

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MAKING IT!

Megan Philllips

Dave Barber Cinematheque (Venue 7), to Sunday, July 28

Does Vancouver-based Megan Phillips feel like she’s “made it” at 40 after two decades in the industry? That’s the question she grapples with in her 60-minute one-woman musical comedy.

Phillips brings heartfelt, genuine and vulnerable moments to the stage, captivating the audience with her big presence. She dives into her dating life and personal experiences, adding layers of authenticity to the performance.

However, the show struggles with structure and flow. At times, it feels more like a TED Talk than a cohesive performance. Phillips herself acknowledges the loose transitions between songs, contributing to a sense that the show isn’t fully practised.

Technical difficulties with lights and sound further disrupted the experience. While the songs are enjoyable and Philips engages the audience, some jokes fall flat. Phillips’s heart is in the right place, but the show lacks the sufficient polish and structure needed to make a lasting impact. It’s a promising concept that could benefit from more fine-tuning. 🐟🐟

— Thandi Vera

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MY DINNER WITH ARBY

Out of Body Physical Theatre

Dave Barber Cinematheque (Venue 7), to Saturday, July 27

Award-winning comedian Jackson Thompson and choreographer Baird Duncan deliver a 45-minute clown-based comedy set at a roast beef-themed fast-food joint. As the meal progresses, they shed their clown suits and dive into topics such as climate change, neurodivergent teens, moralism, COVID, media and horror movies such as Frankenstein.

The dynamic duo’s talent is undeniable, with Thompson and Duncan delivering an engaging performance. The transition from casual chat to full clown mode is inventive, showcasing their creativity. However, the single tone throughout makes it feel like watching two friends chat over food, with some moments falling flat and leaning towards artistic jargon. Some ideas got lost in the lengthy table talk, and when they did move, it felt almost random.

Despite these hiccups, the range of topics provides plenty to ponder. The metaphor of removing clown personas to discuss serious issues was a standout. All in all, it’s an intriguing piece with lots to offer. 🐟🐟🐟

— Thandi Vera

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STITCH IN TIME: A KNITTING CABARET

Melanie Gall Presents 2

MTYP Mainstage (Venue 21), to Sunday

It is always a treat to hear Albertan chanteuse Melanie Gall sing and Stitch in Time includes a lot of the Gall we know and love: weird songs and the history behind them.

The 60-minute cabaret looks at knitting during the first and second world wars and includes a new entry about knitting for Ukraine from the last few years.

Not a lot of fringe performers can wing it during technical difficulties but Gall consistently charms, even as she contends with a finicky PowerPoint.

Part propaganda and part patriotism, despite the hiccups, Gall’s array of songs about knitting are performed with her usual show(wo)manship and can-do attitude that would make war knitters proud. 🐟🐟🐟

— Sonya Ballantyne

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TANGO, IT TAKES TWO

PointeTango

John Hirsch Mainstage (Venue 1), to Saturday, July 27

Classical ballet smoulders with the slow burn of Argentine tango when PointeTango, hailing from Buenos Aires and Montreal, returns to the fringe after a two-year absence. This all-new, slickly paced one-hour dance show features the breathtaking artistry of choreographer/dancer Alexander Richardson and Erin Scott-Kafadar in intimate solos and duets, with the latter seemingly on tiptoe for the entire 50 minutes as she tosses off razor-sharp footwork en pointe (and later, stilettos) when not being lifted sky-high by Richardson, eliciting loud gasps from the audience.

Highlights include duet Mi viego Piazzolla — performed to a poem penned for the legendary tango composer — and La Capilla Blanca, a lushly romantic pas de deux in which Richardson sweeps Scott-Kafadar across the floor with sublime grace.

Evocative digital projections and archival film footage provide further steam, including several scenes in which the “live” couple is juxtaposed with their onscreen images performing in the bustling streets of the Argentine capital, creating many delicious “trompe l’oeil” effects. 🐟🐟🐟🐟🐟

— Holly Harris

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UNREAL: A MINDREADING EXPERIENCE

Mindshocker Entertainment

Dave Barber Cinematheque (Venue 7), to Saturday

Did somebody with supernatural powers manipulate the fringe lottery this year, resulting in 11 magic shows in the lineup?

This one by Winnipeg’s Brian Arthur is an entertaining showcase for mentalism, which draws on psychology, old-fashioned magic and intense preparation by the illusionist to lead audiences into believing they’re witnessing mindreading.

Arthur could amp up his showmanship and slightly turn down his headset microphone. But he’s terrific at appearing to receive mental messages. Many of his feats are jaw-dropping.

How does he know in advance how audience members — randomly chosen when they catch a ball he chucks into the crowd — will answer questions like “What celebrity would you like to have dinner with?” How can he predict which corporate logos six people will select from a large array? How did he know there was someone present named Anja?

Anybody who loves being “mindshocked” will get a satisfying jolt from Unreal. 🐟🐟🐟 ½

— Alison Mayes

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WHAT IS THE PROBLEM.

Tea Party Productions

CCFM — Antoine Gaborieau Hall (Venue 19), to Sunday

One of the pleasures of the fringe is catching outstanding up-and-comers. Although What Is the Problem. (note the period) is an oblique title, the three young women who co-created and perform this 35-minute drama demonstrate remarkable talent.

Alice (Lizzie Rochon), who is 17, has invited her reserved French girlfriend (Amélie Tétrault) over to meet her boisterous best friend (Sarah Critchley).

The problem (maybe we shouldn’t frame it as a problem) is that Alice’s anxiety produces a relentless mental loop of false beliefs in which both women despise and judge her. With sound and lighting effects, the story flips in and out of this alternate reality, expertly dramatizing the torment inside Alice’s mind.

While the tension is resolved a little too neatly, the play’s rejection of stigma and normalizing of mental illness are lovely. Manitoba Theatre for Young People should check this out for its teen audience potential. 🐟🐟🐟🐟

— Alison Mayes