Category Archives: Festivals

Opera Nuova’s Carousel

Opera Nuova’s two mainstage productions this year are The Cunning Little Vixen, an opera composed by Leoš Janáček, and Carousel, the Rodgers and Hammerstein musical. 

Carousel is set in a coastal village in Maine (Wikipedia says in 1873).  In the opening scenes, a touring carnival has set up outside the town, with various circus-style performers (a strong-man, dancers, a fortune teller, a juggler), carousel barker Billy Bigelow (Justin Kautz in tonight’s performance), and manager Mrs Mullin (Emily Stewart tonight).  The set includes three lovely carousel-horses, turned on a revolve during the opening waltz by members of the chorus.  (Apparently one can bid on the horses by contacting Opera Nuova before the end of the run).  Local mill girls Julie Jordan and Carrie Pipperidge (Krista Paton and Brittany Rae) visit the carousel, but the carnival manager gets jealous when Billy Bigelow pays too much attention to Julie, banning Julie from the carousel and firing Billy.  Both Paton and Rae have lovely soprano voices in the solos and duet setting up their friendship and the story.  Kautz portrays Billy as a cocky flirt, confident in his charm, but with foreshadowing of physical threat in the way he grabs Mrs. Mullin’s forearm and threatens Carrie in the first scenes.

The larger ensemble then gathers on stage for clambake preparations, and the enthusiastic “June is Bustin’ Out All Over”, featuring Olivia Barnes tonight as Nettie Fowler.   This piece is echoed later by “That Was a Real Nice Clambake”, again with delightful choreography.  In between are important scenes advancing the tragic story – Julie and Billy lose their jobs, get married, and discover Julie expecting a baby before they have any money, so Billy agrees to help his no-good friend Jigger Craigin (Nolan Kehler tonight) with a robbery scheme.

After Billy’s death (with a spectacular fall off a pier by Kautz, one of the founders of Toy Guns Dance Theatre), the scenes 15 years later focus on Billy trying to make amends to his daughter Louise (Emily Steers tonight).  Louise’s barefoot dance piece explores solitary childhood joy on the shore with hopscotch, innocent celebration with local boy Enoch Snow Jr (Jordan Sabo of Man Up dance troupe), being picked on by a group of local children and taking petty revenge by snatching one girl’s hat, and then being swept up in a group of performers, the carnival workers of the opening scenes, particularly being drawn to a young man among them.   Later, she confides in Enoch Jr that after graduation she plans to run away with them and become an actress.

One of the most disturbing scenes of the musical is when Billy, granted visibility by the heavenly guides in order to help his daughter, gets frustrated when she won’t take his gift and slaps her hand.  Louise flees to her mother, who comforts her and seems to reminisce almost wistfully about a hit that feels like a kiss.  The underscoring music hints at this being sweetly nostalgic, which is jarring against the horrifying but realistic thought that Julie’s good memories of her abusive husband might be encouraging Louise to expect no better.   The more hopeful ending is that Billy’s spirit enables Louise to take in the graduation speech about not being limited by one’s parents’ failures and not being alone.  We can’t tell whether her happy ending will continue with running away to be an actress, marrying Enoch Jr, or perhaps something better than either.

The lighting and costumes for this production create a muted palette for the modest village and mists off the sea.  Vernacular dialects (slightly different for the carnival workers and the villagers) add to the vintage down-home atmosphere.

There is one more performance of Cunning Little Vixen tomorrow night (Friday 29 June) and one more of Carousel Saturday June 30th, both at Festival Place in Sherwood Park.  Julie

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Julie Jordan and Carrie Pipperidge at the Carousel

The festivals of summer, part 1.

When I was a little kid, the calendar was divided in two parts:  the school year, in which all the scheduled activities happened week by week and wrapped up in June, and the summer, which started with a parade in June for Flag Day (a local invention) and continued with drive-in movies, ice cream from the local Dairy, camping trips and time at the cottage, and being put to bed with the windows open while my parents and aunts and uncles talked quietly outside with beers, until the evenings started to get cool and the days started to get shorter and it was time to put on leather shoes again and head back to school.

Edmonton theatre life is kind of like that.  The professional companies mostly wrapped up their seasons in time for Sterling Award nomination deadlines, and are on to planning for next winter’s productions.  The awards get announced at a gala Monday night, and the summer celebrations, special treats, and traditions are already in action. Teatro, of course, has already had one play in its summer season, Salon of the Talking Turk, and has opened the second, Jana O’Connor’s Going Going Gone.   The Freewill Shakespeare Festival‘s just started.

The emerging-artists’ festival Nextfest happened earlier in June.  I took in a few performances – the spoken-word poetry night Speak! hosted by Nasra Adem and Liam Cody, a reading of new work Shadowlands by Savanna Harvey (thoughtful, provocative, and amusing even as a reading – definitely watch for it at this year’s Edmonton Fringe (or at Toronto, Winnipeg, Calgary, or Vancouver Fringe), and the site-specific piece Everyone We Know Will Be There: A House Party in One Act, by Elena Belyea, directed by Andrew Ritchie.  This was a very cleverly managed piece of roving theatre, with small groups of audience members each invisibly shadowing a specific party-guest character, around the house and yard.  I didn’t know the whole story after one viewing, just the parts that our character (played by Eva Foote) was part of, and some other tantalizing bits we overheard while our character was storming through rooms or having meltdowns in bathrooms.  The piece was so skilfully directed and stage-managed that any adjustments of timing and traffic direction were completely invisible to me, which added to the feeling of eavesdropping on a real story.

Opera Nuova‘s festival of opera and musical theatre continues, with Carousel and The Cunning Little Vixen playing this weekend and next.  Rapid Fire Theatre’s biggest event of the year, Improvaganza, wraps up tonight with four shows.  And Found Festival continues today and tomorrow around McIntyre Park and Old Strathcona.

Found Festival is a small festival of site-specific and found-space performance, currently under the leadership of Beth Dart, multi-talented local theatre maker and event producer.  So if the description of Everyone We Know Will Be There made you curious, or intrigued, or skeptical, then you can come to Found Festival this weekend and see more performances created or curated for unexpected spaces.  McIntyre Park, the little green space with the gazebo in front of the library, is currently set up with a box office tent, live music in the gazebo for free, and a small friendly shaded beer-garden with the best of the Fringe’s furniture and Alley Kat products like Session Ale and Main Squeeze.  (Almost like my parents’ backyard in the old days, except that now I’m old enough to drink and the music is better!)

So far I’ve attended Julie Ferguson’s powerful and thought-provoking solo piece Glass Washrooms, which explores a journey to non-binary gender identity and concepts of spaces one belongs in.  Although originally created for the public-washroom building at the corner of Whyte Avenue and Gateway, the later performances have been moved to the washrooms at the Backstage Theatre in order to reduce disruption to the people needing that essential community infrastructure on Whyte Ave.  There are two more performances today and one tomorrow, and I recommend it highly.

Another intriguing part of the Found Festival is the Admit One performances, short shows of various kinds performed for one audience member at a time.  I’ve seen four of them and I hope to catch the fifth.  They’re all different enough that I find myself delighted and intrigued by each one.   In Shoes and One Man’s Junk explore concepts of memory as the audience member experiences aspects of the neighbourhood space along with the performers.  The character in One Man’s Junk works in the antique store Junque Cellar, and the store background blends smoothly into the apparently-rambling thoughts of the employee on break, performer/creator Jake Tkaczyk.  In Shoes takes the audience member on a short walk around the immediate neighbourhood, on which performers portrayed various people important in a young woman’s life.  I won’t tell you who all was in it, because I liked it better being surprised.  Strife, by Matthew McKenzie and performed by Russell Keewatin, portrays a young man trying to decide on his response to a heartbreaking loss by violence, a loss shared by the audience member.  The Booth: Offerings is a set of improvised responses cascading from an audience member prompt, with Leif Ingebrigtsen’s original piano-playing inspiring Tim Mikula’s visual art and Rebecca Sadowski’s expressive contemporary dance.  Particular care was taken to create safe anonymous space for audience members, and I was glad to have a few minutes of quiet in their decompression space before exiting to a quieter side of the building.

None of the performances made me uncomfortable in that “are we done now?” “where am I supposed to go?” “am I supposed to say something or not?” way that is always a risk with performances abandoning the conventions of stage performance (you know, get a program, sit down on risers with everyone else, chat with background music til the lights go down, watch quietly until the lights come up, applaud, leave).  The performers, directors, and producers had anticipated what guidance each audience member would need, so I could let myself experience each performance in the moment without wondering what to do next or worrying that my responses would throw them off.

It’s the start of a wonderful summer of entertainment celebrations of all kinds in Edmonton, Interstellar Rodeo and Edmonton Folkfest, Street Performers Festival, K-Days, Heritage Days, and Taste of Edmonton, culminating for me at the Fringe, August 17-27.  Summer’s here!

Opera done differently

Last night I attended the Opera Nuova production of the Tchaikovsky opera Eugene Onegin.

It was fascinating.  It has one more performance, tonight at 7:30 at the Oasis Centre in northwest Edmonton.  If you like music or theatre and you aren’t sure if you like opera, this might be a good one to try.

Mind you, there are lots of other opportunities here to see outsider-accessible opera, thanks to the imaginative programming of Edmonton Opera.  But Opera Nuova tickets are less expensive, and this production makes fabulous use of its location.

I believe that’s called “site-sympathetic”.  On arrival at the Oasis Centre, audience members had an opportunity to buy food and drink in the lobby, and then we were directed to seats in a back garden amphitheatre.  I noticed that the audience included some families with children, and a wide range of dress from festive to casual.  (I was relieved about this, since I hadn’t gotten dressed up myself.)   We were seated on comfortable chairs around three sides of a courtyard (and some people were standing up too).  In the periphery I could see some attractive landscaping with pathways and an artificial waterfall.

Opera Nuova artistic director and this show’s director, Kim Mattice-Wanat, spoke from the covered bandstand where the orchestra was seated, explaining that later scenes would be set indoors and we would be directed where and when to move.  The sung lyrics would be in Russian, but instead of supertitles we would be given additional glimpses into what was going to happen by a narrator reading some description between scenes or units, Kelly Handerek, There was also a plot summary in the program.

During some instrumental music (overture?) by a 12 piece orchestra under the direction of Gordon Gerrard, some performers entered and seated themselves on garden benches.  The younger women turned out to be sisters Olga (Amanda Weatherall) and Tatiana (Jordanne Erichsen).  The older woman with spectacles, kerchief, and apron was Filipievna, the girls’ old nurse.  I was immediately charmed and impressed that she knitted a sock on four needles throughout the first scene, with the practised ease of an experienced knitter.  The fourth woman in the scene was Madame Larina (Zoë Gotziaman) the girls’ mother.   As advised by the narrator, I could see that Olga was the more outgoing sister, swept away in romance with visiting Lensky (River Guard), while Tatiana seemed to be head-down in her novel for most of the first couple of scenes before becoming awkwardly aware of equally-awkward eponymous Onegin (Aaron Murphy).  I got thinking about Pride and Prejudice at this point, and about how the socially-awkward one who started out seeming rude was actually the happy-ending suitor in that story.  (And then I started thinking about Colin Firth, and then I started thinking about Cordelia in King Lear too, and I was trying to figure out whether I liked this Onegin character or not.  I definitely liked Tatiana right away though.)

At some point in the outdoor scenes, the large ensemble also entered as farm labourers presenting the landlords with sheaves and baskets to celebrate the harvest, and dancing and singing in approximately-folkloric dress.   During the outdoor scenes, various characters and couples made use of the attractive forest paths and lawns.  The actors were all wearing headset microphones (which is not the usual practice for opera, although it is common in musical theatre for larger auditoriums).   The sound quality was not perfect, but was surprisingly good given the industrial-park site with large trucks driving by and windy weather.

The audience was then invited indoors, first to seats around an area set up as Tatiana’s bedroom.  Jordanne Erichsen was especially impressive in this scene, singing solo through almost the whole scene while conveying the emotions of being unexpectedly in love and taking the risk of writing to Onegin to ask if he would consider marriage.

Subsequent scenes shifted to the other side of the auditorium.  Short intermissions were taken as needed, not necessarily when the traditional 3-act structure prescribed.  Onegin turns down Tatiana in what looked to me like an emo mansplaining condescension (“I wouldn’t make you a good husband.  I prefer to be alone”) but then kind of rubbed it in by dancing with her sister at her name-day ball.  This led to an argument with his friend Lensky, Olga’s fiancé, and to a duel in which Lensky dies.  In these scenes I liked Triquet (Sebastien Comtois) who regaled Tatiana with French poetry, and Zaretsky (Xuguang Zhang) who seemed keen on promoting the duel and brought them the pistols.

We didn’t get to find out much about what happened to Olga after that, although in the scene three years later, she was standing to the side with her mother and no escort, watching Tatiana and her high-ranking husband welcome guests to a ball.  The dancing and costumes for the three ensemble-dance pieces (the labourers at harvest, the local friends at the name-day dance, and Prince Gremin’s ball) increased in complexity and spectacle commensurate with the class differences and were all fun to watch.  Choreography was by Marie Nychka and costumes by Betty Kolodziej.  The convention of having the chorus members all freeze in place while the principals acted and sang solos was a bit jarring at first but became easy to ignore.  Onegin predictably comes to regret his earlier rejection of Tatiana, and she now turns him down.  This would be a happy and fair ending if Tatiana were in love with Gremin, but her acting conveys that she would rather be with Onegin, but alas! duty and honour and marital vows.  So it’s sad.

It’s a long performance, but I didn’t mind and mostly didn’t even notice. I don’t understand Russian, didn’t know the story ahead of time, and didn’t recognize the melodies except for a bit that was vaguely familiar from Bugs Bunny (I won’t tell you where!), but I’m very glad I was able to see this opera.   Opera Nuova’s festival of opera and musical theatre continues tonight with a second performance of Eugene Onegin, has a concert Saturday night, and later in the month moves to Festival Place for productions of The Cunning Little Vixen (with supertitles) and Carousel.  Tickets to all are available on-line and at the door.

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Simon Chalifoux, as Prince Gremin, and his wife Tatiana Gremina (Jordanne Erichsen), in front of an unhappy Eugene Onegin (Aaron Murphy)

Saturday inside the Fringe, and out.

For me, it was the second Saturday of Fringe.  Our show The Big Fat Surprise closed Friday night (with another sold-out house!) so Saturday I was washing show laundry, then celebrating the parking-space win, catching some shows, lending another artist some of my furniture for a prop, eating festival food (still love that Lunchpail grilled cheese with fresh chips and classic vegetable sticks), checking in at the Lost and Found, serving drinks in the North Tent, talking to friends, and going home in the rain.

I immerse myself in Fringe while the festival is on, after being preoccupied with show prep and publicity for weeks ahead of time, so it sometimes astonishes me that other important things are happening this week outside of the Fringe bubble.  New babies were born.  Couples got married.  Birthdays were marked on Facebook and off.  Students prepared for the next grade, the next diploma, the next degree, the next challenge.  A whole Summer Olympic Games happened and I didn’t watch or read any coverage at all or knit anything for the corollary Ravellenics celebration.  The Old Strathcona Farmers’ Market shared the crowd and the parking spaces like an ordinary Saturday.  And last night I stepped into the Fringe North Beer Tent wondering about the music I was hearing, and I discovered they were using their new monitors and good speakers to share the CBC feed of the Tragically Hip’s last concert of their last tour, from the Rogers K-Rock Arena in Kingston Ontario.   While the Fringe went on outside, vendors and street performers, artists handbilling their last few shows, the High Level Trolley shuttling to downtown full of people – the tent was full of shared recognition of the Tragically Hip and of their lead singer Gord Downie, whose announcement of terminal cancer prompted the band’s decisions to tour one last summer and then retire.  I lived in Kingston for many years, and I saw the Hip’s first concert in that venue in 2008.  The CBC live feed and the social media streams reminded me how important they were and are to Kingston and to Canada and to music.  Go in peace, Gord Downie.  And Gord Sinclair, Rob Baker, Paul Langlois, and Johnny Fay.


By the second weekend of Fringe, I’ve heard lots of other people’s recommendations of what to see.  And although I try not to think of anything as a must-see, because there would be so many that I’d always feel disappointed, the recommendations helped me choose three good shows yesterday and pick up some more tickets for today.

The Fall of the House of Atreus – A very clever comic take on the ancient Greek tragedies of Euripedes, from Jessy Ardern as playwright and Corben Kushneryk as director and designer, the same team that created last Fringe’s Westbury-stage delight Harold and Vivian Entertain Guests.  Fellow BFA Acting grads Graham Mothersill, Sarah Feutl, and Morgan Grau are the Chorus telling and enacting the connected tragedies of Euripides, with all the vaguely-familiar characters – Pelops, Atreus, Iphigenia, Orestes, Clytemnestra, Helen and Paris, etc.  Simple costume elements and hand gestures helped to keep track of who was who, and found-object puppetry added interest to different ways for characters to be killed.  The energetic performers embraced the material and found humour in the grim tales.  The pace was good and it looked like fun for them as well as for the audience.  It’s now closed.

Little Orange Man – Ingrid Hansen’s charming solo show also presents gruesome stories in a very funny way, in this case through the unique voice of a girl of ten or eleven, recounting her grandfather’s Danish folk tales and recruiting the audience’s help for a dreamscape quest.  It’s held over, so after a last show tonight at 8 pm it should move easily from King Edward Academy to the larger room of the Westbury.

Nighthawk Rules – Collin Doyle’s and James Hamilton’s ten-year-old script was directed by Taylor Chadwick in Theatre Network’s new space Roxy on Gateway (the old C103).  Comfortable wide chairs around a shallow thrust stage make the venue’s legendary summer heat more bearable, as do the cold drinks on sale at the venue.  Chris W Cook (3…2…1, Criminal Genius, Sequence, Bronte Burlesque)  and Christopher Schultz (Wish) play old friends approaching 30 and floundering in their party-bro lives, Schultz’s character trying to live up to his new girlfriend’s expectations about settling down, and Cook’s character trying to hang on to the old camaraderie of drinking games and all-nighters.  I had thought already that Chris Cook was good at bringing a mix of naïveté and good intention to vulgar characters, so he was well cast in the role of Dick, and Schultz’s character Barry seems competent and grown-up only by comparison to his buddy.  I had a great deal of sympathy for the girlfriend (Ellie Heath) until we met her and she talked about her boyfriend completely as a project she had invested time in developing in order to satisfy her perfect-wedding goals, quickly flouncing out again with threats to Barry about cleaning up the apartment and getting rid of the loser friend.   The story was very funny and the resolution of some of the problems delighted me with its unexpectedness and credibility.  Nighthawk Rules has one more performance today at 4:30 pm.

I’ve got a few more drinks to pour, a few more tickets to use, a few more Festival snacks to consume, and then it’s over.  That was then, this is (still) Fringe.

Intense, bouncy, or dark: Fringe for all moods

On Thursday I viewed three performances by local emerging performers, students or recent graduates from the various post-secondary theatre programs.  They were all entertaining, and taken together made an interesting showcase of talent.  All the shows were published work, but I hadn’t read or seen any of them before.

Opera NUOVA’s production of the short musical You’re a Good Man, Charlie Brown was directed by Kim Mattice-Wanat, with live music and sound effects by Randy Mueller and choreography by Marie Nychka.  Jordan Sabo, Emma Houghton, Jake Tkaczyk, Sarah Ormandy, and Billy Brown play the Peanuts gang, with Corbin Kushneryk in the title role.  Brief scenes cover all the repeating motifs of the long-running comic strip: Lucy’s psychotherapy/advice booth, Charlie Brown’s daydreaming about the little red-haired girl, Linus’s blanket, Snoopy’s fantasy life with Sally, Schroeder playing classical piano on a toy instrument and ignoring Lucy’s advances, baseball, school bus, homework, kite-flying, and companionship. The short vignettes don’t really have a plot and touch only lightly on some of the loneliness and bullying that I remember being more disturbing to me as a child reading the daily strip and watching Charlie Brown Christmas and Great Pumpkin each season.  The tempera-paint colours of costumes and set pieces captured the Saturday-comics print palette.  One more show Sunday afternoon, probably sold out.

Philip Geller and Emily Howard perform in The Darling Family, by Canadian playwright Linda Griffith.  It is intense and provocative and occasionally funny, about two characters responding to an unplanned pregnancy.  Seeing this show reminded me that well-chosen dramas can work in small improvised spaces with emerging actors as well as in the big productions like the Citadel’s Other Desert Cities, and in some ways the intimacy of the venue can make the experience more powerful.  The Darling Family is playing in the Strathcona Community League building just north of the Scouts parking lot and King Edward School, and they have three more performances this weekend.

Martin McDonagh’s A Behanding in Spokane is dark and amusing in the same style as George F. Walker’s Suburban Motel series.  The current production is directed by recent theatre grad Eric Smith, and performed by Chris Pereira, Chris Nadeau, Grace Miazga, and Dylan Rosychuk.  I particularly appreciated Chris Pereira’s odd motel clerk character.  They have two more performances this weekend.

Upstairs and downstairs at the Fringe

Kind Hearts and Coronets – I never saw the Alec Guinness movie of the same name, but my father loved it.  The stage version, directed by Ken Brown, is playing at L’Unitheatre at La cite francophone.  John D. Huston plays the Alec Guinness roles as well as miscellaneous servants and executioners, Alex Forsyth plays Israel Rank, the man who grows up poor but knowing he’s only a few deaths from inheriting a ducal coronet, and Julia Seymour plays a variety of other characters including Israel’s love interests, mother, and jailer.  Forsyth’s smug evil leer as Israel’s plans seem to come to fruition is a disturbing delight, a different flavour of bad than characters I’d seen Forsyth play in Deadmonton, Closer, and 7 Ways to Die: A love story.  Last show today, Saturday 2:45

Bella Culpa – Amica Hunter and David Cantor of Portland are A Little Bit Off, the troupe that did the delightful Beau and Aero at last year’s Fringe.  For Bella Culpa, they’re in the Westbury, the big theatre in the Arts Barns, and their stuff is just as engaging and fun to watch in the bigger house.  The two characters in Bella Culpa are servants in a formal household, doing their work of cleaning and preparing for guests, but frequently sidetracked into playful adventures and explorations.   They make clever use of minimal props (buckets, a sponge, a duster, a table) and introduce some impressive acrobatics at beautifully unexpected moments.  They communicate their story mostly through physical expression and action, but occasionally speak a few words in French.  Their tagline describes them as “Downton Abbey meets the Three Stooges”, but I thought afterwards that one of the things I appreciated most about them was that the relationship between the characters was not hostile, not a predictable she-likes-him/he-ignores-her, and not a constant status difference like many physical-theatre/clown duos.  Worth catching (they have two more shows this weekend) and worth watching for in future.

This is Fringe!

Letters from Battle River – I went to this because it got a shoutout at the end of Annotated Autobiography of Leone McGregor, both being narratives about early women doctors in/from Alberta.  Laura Raboud plays the very energetic Dr Mary Percy, who travels from England to work for the Alberta government as a doctor in the Peace country in the 1920s.  I think indomitable would be the appropriate descriptor for this character, of rarely-flagging good cheer, delighting in her life and her work and the country and the people.   My two favourite specifics about this performance were the brilliant use of two wheeled coatracks and a chair to be all the props and set pieces, and the way of handling the racism of the time.  Early on, the character’s narrative (either a series of letters home or one very very long letter home, it’s not entirely clear) is steeped in throwaway racist assumptions about Eastern European immigrants, about First Nations and Metis inhabitants of the land, and occasionally about “Yankees”.  I found it jarring every time this likeable character used racial slurs, although I could see that she was fond of her “Russian” and “Frenchman” and “‘breed” patients and neighbours.  When she began to relate a visit to the “Indian boarding school”, I worried about whether she’d be equally cavalier about the residential school … but fortunately the playwrights had made a different choice (I do not know how much of the text came from the historical artifact letters).  Instead she said something like, it was beautifully light and airy, but of course they hated it, how could anyone like living in a dormitory when they could be curled up with family in a tent in the forest, and then she went on to muse about whether the British Empire was actually wrong to impose their way of life on indigenous peoples.  I did not feel as if the character integrity had been damaged by this viewpoint, and I was comforted that I could still find her sympathetic.

My Boyfriend’s Girlfriend – A new musical by Jamie Price (aka musician Must Be Tuesday) plays in the Telus Building.  It is impressive for a new work by young artists, a fully staged three-actor show with a storyline, songs with clever lyrics and varying melody styles, and musical accompaniment by Price on keyboard and guitar.  The narrative is probably valuable both as a demonstration of queer, polyamorous, and transgender lives for people who are not familiar with these variables, and as positive representation for people who don’t often see their lives on stage.  Just the simple stage business of a character turning away from the audience to take off a bra and put on a tank-top style binder was effective as storytelling and as education, without being enough nudity to distract.  It is hard to plot a story with those goals and show realistic problems and still make the problems solvable, but Price, director Alicia Maedel, and performers Mandi Molloy, Emanuelle Dubbeldam, and Matthew Oliver van Diepen have made a good start.  I could easily imagine this show on a bigger stage with fuller orchestration, a little less didactic and a little funnier or more dramatic, being the next Rent or Avenue Q.  Or it could just be what it is, and a lot of people will enjoy it, see themselves or their friends or family, or learn something.

A Woman of a Certain Age – This was another show full of satisfying representation, with writer/performer Wendy Froberg playing six characters, all women in their late 40s or older, with interconnected lives.  Important common thread was provided by the interactions the other women all had with esthetician Magda, each of them having different reasons for wanting to look younger or look pretty again.  Magda often tried to talk to them about other ways of resolving their problems, suggesting that youth and beauty were not a panacea, but she loses her salon job, and it’s not clear if they don’t like her attitude or her age.  The performance follows all the rules of a good multiple-character solo show, (if you don’t know what they are, this is demonstrated in The Big Fat Surprise) and I enjoyed it.

Gossamer Obsessions:  Wilt – is a set of “parable” sketches, funny and sort of delightfully weird, in a magical or not quite real way, by masters of improv Amy Shostak and Paul Blinov.   Their costumes are reminiscent of fairy-tales, and their stories hover over the abyss between ordinary life and the just plain strange.  The hour flew by.