Here are a few notes on shows I’ve seen so far, in alphabetical order by title.
Bash’d: A Gay Rap Opera
Two talented local performers, Jezec Sanders and Kael Wynn, do a powerfully moving version of Chris Craddock and Nathan Cuckow’s 2008 rap musical. The beats are slick, the rhymes are fine, the show-within-the-show about Dillon, the small-town boy kicked out when he comes out and Jack, the urban party boy who never expected to fall in love and settle down is charming, the context is Canadian and unfortunately not dated, and parts of it made me cry so hard that a stranger offered me a hug after the show.
Louise Casemore and Vern Thiessen perform a script written by Casemore which fits perfectly into the basement bar space of El Cortez, using the flaws of the space (noise from upstairs, odd lighting, heat) to develop the mood and characters, showing how a sarcastic bartender and a grouchy overbearing customer get to know each other and care about each other as time passes.
Gordon’s Big Bald Head
This Fringe improv tradition, with Jacob Banigan, Chris Craddock, and Mark Meer, builds a long-form story every night out of one of the other show descriptions in the program book. The one I saw included a plucky orphan (but not the Cockney one), a coffee shop next to a copy shop, some mobsters, a secret pope, an amulet (not as common nowadays as talismans), and other unlikely elements, all meshing into a convincing and ridiculous story.
This new solo show from Ingrid Hansen (Little Orange Man) is original and delightful. There is enough narration that we understand what’s going on, but Hansen’s on-stage character Kitt demonstrates her story mostly through movement.
How I Lost One Pound, The Musical
I’m working on this show as local crew for Toronto touring artist Lesley Carlberg. There’s a performance every day in the Rutherford Room of the Varscona Hotel. Lesley’s story has many familiar-sounding aspects, but is told in a charming, unassuming manner full of asides and tangents.
Urinetown, The Musical
Grindstone Theatre tackles the cynical and self-aware Broadway hit with a cast of 14, a small musical ensemble led by Vicky Berg, and a multilevel scaffolding set that manages to change the beautiful brick and wood worship space of Holy Trinity’s sanctuary into the depressing underbelly of a near-future dystopic city. I loved the asides from Officer Lockstock (Bob Rasko) and Little Sally (Carol Chu) which made fun of the tropes of musicals at the same time as providing them. Paul Morgan Donald was particularly strong as Cladwell P Caldwell, but the cast includes many experienced actors and talented singers. Likely to sell out.
So that’s a start – some improv, some solos, some scripted drama, some musicals, and the busy schedule ahead of me includes more of the same as well as some comedy, some burlesque, some unplanned viewing, and some shifts selling drink tickets. I love Edmonton Fringe!