Hope you’re not tired of fringe play reviews yet

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This article was published 19/07/2024 (414 days ago), so information in it may no longer be current.

5-STEP GUIDE TO BEING GERMAN

Paco Erhard

John Hirsch Mainstage (Venue 1), to July 27

Despite several references to Germans’ characteristic precision, attention to detail and numerical aptitude, fringe circuit veteran Paco Erhard never actually gets around to delineating the titular five steps during this 75-minute standup-comedy performance.

Instead, he offers up a wide-ranging commentary on Germany’s checkered past and its emergence as a 21st-century global leader.

“Germany is the greatest country in the world to be from,” he observes. “Anywhere in the world you go, you can only exceed expectations!”

Currently a U.S. resident on tour across the Canadian fringe circuit, Erhard has a confident and world-wise perspective sure to resonate with audiences here as it has elsewhere around the globe.

🐟🐟🐟🐟

— Brad Oswald

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BUTTERFLY DREAMS

Rem Lezar

Theatre Son of Warehouse (Venue 5), to July 28

It’s difficult to pull off an ethereal experience when your venue smells a bit like the lifting of a dumpster lid after a hot humid weekend. So it is with this locally made experimental physical theatre piece (the program deems it “unclassifiable”) that mercifully clocks in at 30 minutes.

If the venue weren’t challenge enough, the show is one of those truly fringe experiences where you’re asked to interpret the mysterious action onstage.

The cast spends much of the time walking in circles in what can only be described as a forced wedding march, emitting peeps, chirps and swooping whoops while accompanied by a pianist and percussionist playing lovely Erik Satie tunes, among other things. A ballerina provides some more conventional breaks in the action before joining the forced march. It’s … mysterious, but on the plus side, the show embodies true fringe spirit, even if it tests indulgence.

🐟🐟1/2

— Randall King

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CHARGED CONVERSATIONS

Black Cat Productions

Dave Barber Cinematheque (Venue 7), to July 25

The paranormal investigator in Charged Conversations says she makes her ghost-hunting gadgets at home in her basement.

This painfully amateurish two-person comedy also seems to have been crafted in somebody’s basement — like homemade wine that’s gone bad.

Ottawa’s Doug Hagar and Mel Large co-wrote the show, hired inexperienced Winnipeg actors, and held the rehearsals via Zoom. That helps to explain some of the awkwardness, but not the lame script.

With a billed length of 45 minutes, the show ran 30. The investigator (Betty Asseiro) is a pink-haired progressive type. She meets a grey-haired hoser (Brian Petersen) at an electric-vehicle charging station in a rural cemetery. Despite their opposing views on EVs, their relationship has no arc.

They receive spirit messages through a homemade Ouija board. The audience, serving as ghosts, is enlisted for participation that would be appropriate at a children’s show.

Though it appears the playwrights were aiming for improv-like zaniness, it would take more than an infrared camera to detect comedy in this graveyard.

🐟🐟

— Alison Mayes

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THE CLUB SODA IMPROV SHOW

Club Soda Improv

Asper Centre for Theatre and Film (Venue 10), to July 28

Even at the best of times, improv is like a box of chocolates on a roulette wheel. You never know what you’ll get, or if it will pay off in substantial rewards.

The stalwarts at the multi-member local improv collective Club Soda rang up a few payouts/hazelnut clusters in their opening afternoon show at the Asper Centre venue at the University of Winnipeg, a stage that feels it might be too dark and oppressive for improv free spirits.

Founding member Kevin Ramberran led the cast of seven (plus a musical accompanist) on a merry 60-minute long-form adventure involving libraries, sinister cats, incompetent school employees and an evil eight-year-old out to take their jobs.

Next time, it will be totally different. In this case, that’s probably for the best.

It’s all decent fun, but one senses to see the Sodas at their fizziest, it would be best to go to later shows. Early afternoon is rarely an improv artist’s friend.

🐟🐟🐟

— Randall King

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COMMANDO: THE RADIO PLAY

Project Pigeon

The Park Theatre (Venue 18), to July 27

This explosively hilarious and creative 60-minute parody of an old-timey radio drama, directed by Winnipegger Abby Falvo, perfectly captures the absurd essence of the 1985 Arnold Schwarzenegger film.

Featuring the talents of Cathy Herbert, Sam McLean, Will O’Donnell and Abby Falvo, the production masterfully uses live sound effects with more than 60 props.

The ingenious sound design makes it feel like listening to a dynamic audio story with every sound meticulously crafted.

The one-liners and ad breaks are sidesplittingly funny, adding charm to the experience. The storyline, a sustained but delightful Arnold cliché, kept the audience engaged throughout.

This production is a must-see.

🐟🐟🐟🐟

— Thandi Vera

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THE CONDO DOWN UNDER

Old Elmwood

Radio Theatre John Hirsch Mainstage (Venue 1), to July 28

This 65-minute live radio-style play offers a modernized and localized reimagining of the classic cautionary tale of Faust, who enters a hellish bargain to escape his earthly woes.

The deal-maker in question here is Jack (Greg Holowka), a decidedly unsuccessful Winnipeg home-renovations contractor whose failure is a byproduct of an overwhelming lack of ambition and/or work ethic.

With his business failing, bankruptcy and legal woes looming and seemingly no solution in sight, Jack swears (in one of seven musical numbers peppered throughout the show) he’d make a deal with the devil if it would help get him out of his jam.

A not-so-angelic investor named Mel (the “L” is silent) Phisto (Stephen Gillies) suddenly appears, and the rest is, well, the rest.

Lively and capably performed by a cast of nine, backed by a three-piece orchestra, this timeless tale squeezes in just enough original music and local/timely references to make it feel fresh.

🐟🐟🐟

— Brad Oswald

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THE DUNGEONS ‘N’ DRAGONS IMPROV SHOW XV: THE SKELETON KEY

Miki Media Inc.

The Park Theatre (Venue 18), to July 27

Back for its 15th year at the fringe, the 60-minute DnD Improv Show transports you to a whimsical land where kings and forest protectors romp.

Directed by Jesse Miki, this fun and engaging show features interactive battles determined by dice rolls and a talented cast, including Sam McLean, Jeremy Plett, Riva Billows, Cathy Herbert, Bev Katherine, Kenton Dyck, Michael Barkman and Edward Bosnja.

The storyline centred around a ragtag group of heroes trying to save Heropolis from corruption and secure a magical artifact, keeping the audience on the edge, although the lack of microphones meant some dialogue was occasionally lost due to the roaring crowd.

A fan favourite, the opening night was almost sold out — not surprising, considering the humour, excitement, creative set design and immersive experience.

🐟🐟🐟🐟1/2

— Thandi Vera

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ESCAPE FROM WINNIPEG

Plisskin Productions

MTYP Mainstage (Venue 21), to July 28

A love letter to movies about mullets, motorcycles and misogyny, Escape from Winnipeg starts with a credits sequence and includes a director’s DVD commentary.

In the “future” (1997), Winnipeg has been turned into a prison city. Snake Plisskin must pull off the titular breakout to clear their record, and if they feel like it, save the world.

Tamlynn Bryson plays Snake, the candy cigarette-chewing hero who loves one thing: a word we cannot print. Bryson’s physicality is highly impressive, as is the shadow puppetry that allows the “movie” to include special effects and stunts such as a motorcycle jump and a plane crash: standard ’80s movie staples.

Rod Peter Jr. joins as Steve Buscemi guy, random guard and the babe (portrayed as a long-haired blond puppet dressed like Rod).

The multiple shoutouts to other John Carpenter works are a fun Easter egg, but go for the multiple legit laugh-out-loud moments.

🐟🐟🐟🐟

— Sonya Ballantyne

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LET’S KILL A DRAGON

Sensible Chuckle Theatre

John Hirsch Mainstage (Venue 1), to July 27

“ Absurd ” — in the best possible way — is the word that springs to mind to describe this weird and wonderfully funny hour-long comedy/fantasy/adventure, written by Alex Coates of Sensible Chuckle Theatre.

Four understandably underemployed fantasy-realm characters — a gullible and not-so-gallant knight, a wizard who specializes in copyright law, an alchemist with pyromaniac tendencies and a roguish elf who prefers pistols over potions — are about lose their Adventurers’ Guild credentials, and the best way to maintain their status is to embark on a heroic dragon-slaying quest.

What follows is a wacky wander through the woods, aided by clever projection-screen graphics and a captivating soundtrack that attracts the ire of the aforementioned fire-breather and leads to a truly rewarding final showdown.

🐟🐟🐟🐟

— Brad Oswald

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PICASSO LOVERS & MUSES

Bolero Dance Theatre

Tom Hendry Warehouse (Venue 6), to July 28

Bolero Dance Theatre’s Pedro Aurelio channels the raw passion and appetites of painter Pablo Picasso in this new dance drama, in which he is joined by six Spanish/flamenco dancers and a live three-piece band: guitarist Philippe Meunier, accordionist Stephen Kiz and singer Onna Lou.

The 60-minute show choreographed by Aurelio and Genevieve LaTouche chronicles the revolving door of lovers and muses in the legendary Spanish artist’s life, each sharing a story of the man they call “genius,” “inspiration” and “monster” through brief narration and dance.

The performances are terrific, including the final showstopper performed against a backdrop of Picasso’s masterpiece, Guernica.

Aurelio mesmerizes with his solos, morphing into a Minotaur and colourful harlequin as he stomps out rhythms while clacking his castanets — one can hardly believe Picasso is not in the house.

A bit of vocal coaching would make this show pop more, and the narrative loses its bull’s-eye focus on these gutsy, courageous women willing to live — and die — for love.

🐟🐟🐟🐟

— Holly Harris

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ROCKIN’ BLUEBIRD

Melanie Gall Presents for Kids

MTYP Mainstage (Kids Venue), to July 28

Sad Scraps (a bluebird puppet) doesn’t resemble anyone in his chicken “family,” so he sets out to discover his roots. But instead of a full-on adventure, Scraps’ quest ends in 10 short minutes and the audience is abruptly moved on to another scene.

The rest of the show unfolds this way — jolting along with no proper storyline to follow for 45 minutes.

A few songs are shoehorned in, including a jarring operatic rendition of Somewhere Over the Rainbow. It ends with 20 or more children dancing on stage to Rockin’ Robin.

This solo show with puppets, written and performed by St. Albert, Alta.’s Melanie Gall, is an out-of-control mess. Gall is enthusiastic, and certainly talented, but a show needs a well-honed script.

When it comes to theatre for children, you can’t just wing it. It simply isn’t good enough.

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— Wendy King

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WHO DRINKS MOCKTAILS ON THE BEACH?!

Painted Fern

Productions Son of Warehouse (Venue 5), to July 28

Candace is a blond party girl — a super-sociable young woman with a constant smile and a nervous laugh. She’s always up for a round of vodka shots and an Instagrammable selfie.

In this solo show by Vancouver writer-actor Sara Mayfield, Candace takes us along on her trip to Cancun for her best friend’s destination wedding.

As Mayfield skilfully interweaves this narrative with incidents from the past, we gradually perceive the shame, loneliness and insecurity that fuel Candace’s drinking problem.

Mayfield is a solid actor and a talented mover. Who Drinks Mocktails… is billed as a musical because it incorporates karaoke performances of pop-punk songs such as the too-literal My Own Worst Enemy.

The show has some wrenchingly effective moments, but there’s too much of Candace’s forced exuberance and shallow, irritating uptalking. The viewer is left wanting less of the party-girl facade and more raw, truthful revelation of the inner person.

🐟🐟🐟

— Alison Mayes