Tag Archives: fringe 2024

Magic, survival, and hidden patterns – a Fringe weekend

Leave a reply

The last four shows I saw in Fringe 2024 included two shows with stage magic and two shows with young women prepping for endtimes or disasters. But four very different experiences!

El Diablo of the Cards was a solo sleight-of-hand performance by Ewerton Martins of Brazil, in red nose. He greets guests in line outside Gateway Theatre, then seats some people on the stage of the intimate black box and goes back outside to announce more arrivals as “next victims!” and keeps promising that the show will start in five minutes. Eventually he taps one of the audience members to give him an introduction, and the one who did it in the Saturday show did a great job. His patter is amusing and he gets help from several audience members without making fun of them. And his tricks are astonishing and delightful.

kicked in the end: a magic show was a solo performance by actor/magician/academic/author Shawn DeSouza-Coelho, in the Kick Point OSPAC space. This charismatic performer also engaged with audience members before the official show start, and then reminded us that as per the show title, before the end of show, there would be some kind of kicking of someone. While we were puzzling over that one, he gave us a long riddle of descriptive poetic phrases that didn’t fit together at all, and then gave us one word that made them all make sense. He engaged audience assistants to conduct various magic tricks. I wasn’t sure what to attribute to physics, what to attribute to impressive “reading” of participants, and what was actually sleight of hand. In between, he told stories from his life which would have made an interesting show even without the magic and interaction. Later it became clear that just as the apparently-unconnected lines of the riddle made sense once the keyword was revealed, the anecdotes also had a common thread in racist microaggression. The structure of the show, particularly the ending that subverted my expectations of what a performer “owes” the audience, had me feeling as if I discovered my own problematic beliefs rather than having someone else call me out, which was much more effective. (Emo Majok’s gentle poking fun felt similar). I don’t know whether the performer teaches undergraduates, but I hope for the sake of York students that he does. Shawn DeSouza-Coelho is also the author of the fascinating biography of Stratford stage manager Nora Polley, Whenever You’re Ready, which I recommend.

Let’s Not Turn on Each Other features creative partners and recent BFA grads Jacquelin Walters and Michael Watt, who have been making performances together at Nextfest, at U of A New Works, and elsewhere. This one, billed as a play with original folksongs, was performed at Spotlight Cabaret, but is going to be held over at the Westbury Theatre next Friday and Saturday. (Note – you might remember that in past years, holdover performances cost more than tickets to regular Fringe shows. This year they’re a flat $20 – the same as the maximum price during the festival.)

Anyway, it’s weird, and playful, and engaging. The two performers, wearing plain modest dresses and blonde milkmaid braids under kerchiefs, are members of a guild, assigned to guard an outpost until they get a signal from their leader. It’s not clear if this is a religion or a doomsday-prep group or what, but they both seem completely devoted to their required daily schedule and the instructions they get from cassette tapes. They sing and play instruments, they make an expedition around the audience space which culminates in some participation from Spotlight serving staff, and eventually they make some discoveries that upset their belief system. See the holdover — and watch for these two in future. I understand that Michael Watt will be playing the eponymous Shrek in an upcoming Nuova Vocal Arts production.

W.R.O.L. (Without Rule of Law) has a more realistic setting and tone, but again it seems to be about a group of young-teen girls who have deviated from standard Girl Guides curriculum to teach themselves survivalist prepping. The script is by Michaela Jeffery – previous works of hers I’d seen in Edmonton were Sundogs (Fringe 2014) and The Listening Room (Cardiac Theatre, 2018). Emily Marisabel directed W.R.O.L. Set designer Amanda Bertrand and prop designer Kevin Cambridge have constructed an impressively detailed space for the group to explore, especially given the 15-minute limitations on setup and strike for each show. Performers Robyn Clark, Baran Demir, Astrid Deibert, Emily Thorne, and Jordan Empson bring five different characters to life, each with their own needs and motivations for becoming competent and independent. At first, the group’s concerns about solving mysteries and defying school restrictions seem immature or foolish, but by the end it seemed to me that they had credible good reasons to mistrust their authority figures, reasons that many contemporary young people might share.

Fringe Day Eight – second wind

Leave a reply

With no volunteer shift and no stage-management duties Thursday beyond a bit of show laundry, I spent the whole day going to shows that people had recommended to me.

Emo Majok: Australian Aussie was in the intimate space of Acacia Hall. I had heard his guest piece at Late Night Cabaret the night before and was looking forward to it. The stand-up comedian weaves in anecdotes about being challenged by his 7-year-old daughter to leave a job he hates and make a career in performing, about being born in a refugee camp and migrating with his family from Ethiopia to Kenya to South Africa and then Australia, about being Black in Australia (“the Australian indigenous people were the original Black people there, until blacker people arrived”) and in other parts of the world, about being a parent, and other relatable and gently hilarious comments. Emo engages with various audience members individually, teasing a bit about a few immigrant stories and career dissatisfaction stories as well as family groupings (a 60-years-married couple had come with their grandchild, so he congratulated the couple and told the grandchild that it was good of them to spend time with their grandparents but they should get some actual friends).

HerPlease is also in a small performance space, the Nordic Studio Theatre in the Arts Barns. Solo artist Kate Tobie of Minneapolis appears wearing a large vulva costume, from which she pulls out various props while telling stories of her sexual and romantic history and providing some incidental public-service information. Her backstage assistant (not identified, but appearing for bows) is probably very busy, helping out with the various physical bits. Alongside the bigger reveals of the story, I was particularly struck by the comments about enjoying the messiness of having a body while encountering messages of shame about it. HerPlease has shows tonight (Friday) and tomorrow (Saturday) late afternoon.

What a Young Wife Ought To Know made an interesting thematic double-feature with the previous show about women’s (mostly-heterosexual) sexuality in the 21st century. The Hannah Moskovich script, last seen locally as done by Theatre Network in 2018, is tackled here by local indie company Shattered Glass Theatre, directed by Sarah Van Tassel. If you are open to watching a drama in your Fringe-going, consider this one. It is very well done, compelling and well-paced. Abigail MacDougall is breathtakingly heartbreaking as the central character Sophie, starting as a naive 15-year-old who admits she kissed the post-boy because she felt sorry for him having TB, and going through her crush on Johnny, who works at the nearby hotel stables, to marrying him, having several children despite risks to her health and very limited household money, and following through on some very difficult decisions brought about by those circumstances. She breaks the fourth wall between scenes to talk frankly to the audience, mostly directed at other married woman, to ask “what do you do?” and “what would you do?” type questions. Patrick Maloney plays Johnny, and Sarah Spicer plays Sophie’s older sister Alma, both of whom also experience sad outcomes related to their lack of reproductive choice, as a working-class couple in the 1920s.

Batman, Bob, and Bill is an original drama written by Andrew Boyd of No Tomatoes Theatre about the artists who created and developed the Batman stories. Andrew Boyd and Connor Meek play the main characters, with an ensemble of Brooke Hodgson and two more people (I couldn’t find a show program/credits). I thought the ensemble was very well used, as artists sketching in sketchbooks at the back of the stage and discarding some of the results, then shifting to play minor characters, move set pieces (rehearsal boxes with comic-book art on them), etc. It’s playing at venue 18, the Lutheran church hall across the street from Grindstone.

WINNING:Winning is described as a mostly-silent clown show, by Gordon Neill. With lots of artist assistance and no talking, the character works through some of his challenges and fears on stage, while being less compassionate towards himself than the audience is. Near the end, the character and performer merge and speak, giving some of the bigger picture of where this production came from. It was directed by Isaac Kessler (of 1-Man No-Show, etc) and was not only entertaining but moving.

An episode of Die-Nasty and a Late Night Cabaret visit made a long day, but I wouldn’t have missed any of it.

Have a great Fringe weekend!

Day Three – local artists, new stories

Leave a reply

It’s hard to find a connecting theme for the four productions I saw today, except that they were all done by familiar local artists.

Dick Piston Hotel Detective in Prague-Nosis was, as the title suggested, a classic noir tale with a hardboiled detective narrator (Lucas Anders), an assortment of suspicious characters (Mélissa Masse, Sarah Gibson, Dan Fessenden, Dave MacKay), and an atmospheric setting cleverly suggested by description, lighting, and a few set pieces moved around to suggest different locations in the seedy Lakeview Hotel. The published script, by American playwright/television writer Jeff Goode, offers scope for over-the-top humorous character portrayals but seems to have the consistent intricate plotting of a classic noir detective story. Director John Anderson has gathered a cast of clever character actors and talented crew, familiar from Walterdale Theatre productions. ASM Adorra Sergios displays title cards before each scene, in a series of increasingly strange hats. Playing in the Sugar Swing Ballroom (main floor) space, venue .

Rob and Chris / Bobby & Tina is an adaptation of one of my favourite plays ever, Collin Doyle’s Let the Light of Day Through. The playwright adapted it to a 60-minute musical format, along with composer/music-director Matt Graham. The original 2013 production of the play, with Jesse Gervais and Lora Brovold, portrayed the awkward affection and determination of a couple who experience an awful tragedy and … not get over it, but go on. The play is partly recollective, but they act out the stories to tell them to the audience, and it is very funny except when it’s awful. Part of the power of the original experience, for me, was not knowing what they were avoiding telling, until they told it. When I heard that Kate Ryan of Plain Janes would be directing a musical adaptation for the Fringe, I was excited, but also apprehensive. What if it wasn’t as good as I remembered the play? What if the experience depended on not knowing the outcome? But it is very good. It landed differently for me because I was watching for clues, but it was still powerful. The couple (Bobby + Tina when they meet as teenagers, Rob and Chris later) are played by Garett Ross and Jenny McKillop. They do just as well showing the awkward disconnects of a new relationship and a long-term one as they do showing the way that the couple develops a shorthand of shared understandings – the scene of trying to have a role-play fantasy when each of them thinks the other wants something else was hilarious, and the ways they imitate each other’s parents to amuse each other show clearly how they’ve been allied against both sets of parents for years. Graham’s music is suitably poignant and funny and affectionate, as called for, and the simple Fringe-appropriate set design (Trent Crosby) worked. Matt Graham plays the piano live. Venue 11, Varscona Theatre.

Mass Debating was also a musical and also at the Varscona. Trevor Schmidt wrote it and cast frequent collaborators Jason Hardwick, Cheryl Jamieson, Kristin Johnston, Michelle Todd, and Jake Tkaczyk, along with himself, to play junior-high-school debate team competitors. The universality and familiarity of the junior-high-aged themes (an early song focuses on each character’s worries of “Can they tell by looking?” ) were portrayed in a setting of mid-1970s Catholic schools, so the injustices were more overt and seemingly unchangeable than a contemporary context. Although the audiences know that things will get better, the characters really don’t. This dramatic irony provides not just humour but poignant compassion. Many of the unfairnesses focus on the institutional sexism of the society and that Church, and the way that both the boys (played by Jameson, Johnston, and Todd) and the girls (played by Tkaczyk, Hardwick, and Schmidt) express them in their interactions and behaviour. The thoughtless racism of the time was also shown in the segment where Ralph Washington, the Black competitor (Michelle Todd) was required to debate the Against side, on a resolution that racial integration has hurt Catholic education. Unlike Schmidt’s recent successful contemporary story about junior high school girls, Robot Girls, this one does not tie up the plot threads with happy endings. And it shouldn’t. That left me thinking. The music was written by Mason Snelgrove, and the accompaniment is recorded. Some of the announcer’s voice-overs were hard for me to hear clearly – not quite the Charlie-Brown-teacher “wah-wah-wah” but probably funnier than I knew about.

The drag comedy troupe Guys in Disguise have a new comedy, written by Darrin Hagen and Trevor Schmidt, called Microwave Coven. It’s also set in the 1970s, in a suburb, and it starts off with three neighbourhood women in fabulous caftans (Darrin Hagen, Jake Tkaczyk, Trevor Schmidt) preparing for a visit from neighbourhood newcomer Jason Hardwick. Hardwick is adorable as naive newlywed Mary Rose, in crinoline and blonde flip. The premise of this story is less realistic than the troupe’s recent productions like Crack in the Mirror and Puck Bunnies, but the characters are just as much fun. It’s also at the Varscona.

Various remixes on Day Two

1 Reply

Image: Fringe 2024 poster designed by Yu-Chen (Tseng) Beliveau – drawing including universal aspects of Fringe and specifics of many previous festival themes. (You might not see the image on some phones – you might see my usual blog header of ticket stubs and the contents of my pockets.)

I fitted three more performances into a busy Friday – two productions hard to describe and also worth seeing, and one new incarnation of a Fringe tradition.

Unkl Stiv’s Looping Machine was on the program last Fringe – I saw an intriguing sample at Late Night Cabaret, but couldn’t fit it into my schedule. So I was happy to see it in the list of Fringe-lottery choices for this year, scheduled into the Yardbird Suite, venue 7. The performer, Steve Pirot, explained that before the start of the pandemic he had been performing several short spoken-word poetry pieces, and then rather than create new pieces for digital performance he decided to work on stitching together his extant work into something longer. Which is now a live non-stop piece almost an hour long. It was fascinating to listen to and watch, but very hard for me to remember details. Pirot uses rhyme and sounds as deftly as a rapper, and plays with words and meanings in ways memorable of T.S. Eliot’s “The Love Song of J. Alfred Prufrock” (which he refers to once or twice). For some of it, I let my mind drift as the echoes and reverberations washed over me. For other parts, I loved the way the sounds and concepts fitted together and tried to remember them – particularly the part about the 24-hour cat cafe – but I can’t. When I first started exploring the local theatre scene, early in the previous decade, I figured out quickly that if Steve Pirot was credited on a project, it was going to be what I called “weird theatre” – and I meant that in a good way! Steve Pirot expanded my appreciation of live performance in 2013, and this Fringe show did that again. If this might be your thing – if you’re even curious about it – try it. He also has a show for kids at this Fringe, called The Empire of Sand.

I think I was probably in the middle of the target audience for Who’s Afraid of Winnie the Pooh?, the Clevername Theatre production playing at venue 18: The FOH Pro Stage, a Lutheran-church hall across the avenue from Grindstone Theatre’s main performance space. A printed program distributed before the show provided a bit of context about the Winnie the Pooh author A.A. Milne’s life, in particular the way his real-life son Christopher Robin Milne responded to being immortalized in his father’s books as the quintessential imaginative solitary child endowing his stuffed animals with life. I had read about that history previously, but it did help to have it top-of-mind during the show.

I was also quite familiar with the tropes and plot points of both source material of this strangest of adaptations. I’d savoured the Winnie-the-Pooh short stories and poems from having them read to me, touching the Ernest Shepard pencil drawings, through watching the Disney animations with younger siblings and reading aloud with the next generation. And I’d worked on a Walterdale Theatre production of Edward Albee’s Who’s Afraid of Virginia Woolf, so I’d heard the venomous barbs and unfolding awful secrets of that script many times while operating the lighting cues, and then watched another production in the Citadel audience.

I have no idea how the Minneapolis theatre artist Alexander Gerchak ever came up with the idea of casting the storybook characters Winnie and Piglet (Thomas Buan and Stephanie Johnson) as the viciously-bonded couple like George and Martha, entertaining a young couple named Hunny (Victoria Jones, costumed as a Pooh-story honey-pot and echoing the naivete of Albee’s Honey) and Christopher (“he looks like a Mormon who collided with a haberdashery shop”, Nick Hill) who seemed to be the analogue of Nick. But it worked. Later on, references were made to other Pooh-universe characters like Eeyore, Rabbit, Owl, and Kanga. The narrative on stage had callbacks to many plot points in both canon stories, and included both absurd physical humour (instead of the many alcoholic drinks of George’s hospitality, Winnie licks out a honey jar with his hands and serves up “nectar” and “condensed milk”) and a lot of what I remember as increasing horror as I came to realize the history behind the intolerable present, highlighted by cringey lighting effects (maybe I just noticed those because of how I first encountered Albee’s work?)

After the performance, I looked them up – and found out that it’s been well received at Fringe festivals in the US. If you are familiar with both sides of the source material – whether or not you actually like either of them – you should definitely see this. It would probably also be worth seeing if you just have a rough awareness of both stories as cultural phenomena – but it was recognizing the specifics and then realizing how the stories were going to dovetail that really sold me.

Late Night Cabaret has moved, this year, from its longtime home in the Backstage Theatre (do you remember when that space acted as storage the rest of the year but was tidied up as a performance space for the few weeks of Fringe?) to a new venue offsite, the Granite Curling Club on 107 Street. The new venue is about twice the size, and the new arrangements include extra late-night trips of the historic streetcars through Old Strathcona from the Fringe grounds, and an earlier house-opening that might be serving to spread out the loud energy of the old queue that would form along the north wall of the Arts Barns every night with ticketholders vying for front-table seats and artists hoping to get free tickets. I was hesitant about whether the larger offsite space could re-create the happy community feel of the old LNC, a place where I felt completely included and safe as a solo patron but at the same time felt like I was in a dark nightclub of pulsating music at midnight, where I kept running into people I knew.

Late Night Cabaret 2024’s first show was last night. And I will definitely go back. Enough of it is the same, and a lot of it is fun. I didn’t know ahead of time that there’s a kitchen selling nachos and tacos, so I had picked up fast food – but what I saw looked awfully good. There were no risers around the edges filled with single seats, but I was able to see and hear well enough from a cabaret table partway back, and didn’t need to plan ahead about who to sit with because I ran into so many friends. As usual, there are high-energy hosts (Kelly Turner and Kevin Gillese last night), an amazing 7-piece house band and a musical guest (last night Arlo Maverick the rapper) and an assortment of guest performers and repeating features. As in previous years, Lindsay Walker curates the music, Jake Tkaczyk curates the guests, the hosts are affiliated with Rapid Fire Theatre, and the Next Act family of restaurants sponsors things.

Other Fringe checklist notes from Friday: first green onion cake, first volunteer shift in the beer tent, first time mis-remembering a schedule and getting to a venue far too early. And I spent some time trying to find an ATM on site and failing – does nobody need cash for outdoor performers any more?

Today I’m hoping to see Rob & Chris / Bobby & Tina, the Matt Graham musical adaptation of Collin Doyle’s brilliant script Let the Light of Day Through, NachoPals Theatre’s Dick Piston Hotel Detective in Prague-Nosis, as well as the newest Guys in Disguise comedy Microwave Coven and Trevor Schmidt’s musical Mass Debating. The black-comedy musical I’m working on, Regression, has a performance at 4 pm at venue 30, the Playhouse. Hope your Fringe weekend is great! Say hi if you see me!

Starting to Find my Fringe 2024

1 Reply

Image: Fringe 2024 poster designed by Yu-Chen (Tseng) Beliveau – drawing including universal aspects of Fringe and specifics of many previous festival themes.

This year’s Fringe theme, Find Your Fringe, highlights the concept that everyone’s Fringe is different – that there is no “wrong way to Fringe” but thousands – hundreds of thousands – of ways to Fringe, as many as there are attendees and participants.

My Fringe had a great start with a performance of the new musical I’m stage managing, Regression, at the Playhouse. Then I rushed to two more performances, in weather that went from smoky to cloudy to rainy.

Heartstrings, at the Lumos Dental Grindstone-classroom space at Whyte Avenue and 96 Street (venue 19) is a sweet improvised relationship story from Two Girls Improv of Calgary. The two performers get an audience suggestion, and then segue seamlessly into various scenes from the lifespan of a romance, not all in order, with related backstory and additional characters. I love watching this kind of long-form episodic improvised narrative, but I’m especially impressed when they can manage scene changes /character changes without an obvious “tell”. (Improv troupes who make these switches more obvious include Agent Thunder and Scratch.) The humour in the characters was inherent and gentle, and all of them were familiar, easy to relate to – even the dad who didn’t know how to dad, and the awkward inappropriately-personal church lady. There were several opportunities for characters to come out to themselves or their scene-partner, all of which were played in a natural 21st-century way. I’d like to see this troupe again.

Brother Love’s Good Time Gospel Hour was scheduled at just before midnight in the Westbury Theatre, after it had started to rain. So the audience was small, but enthusiastic (also thanks to FOH, who let us line up indoors). When we entered the performers were already “on”, interacting with patrons as if we were coming in to a revival meeting. They encouraged us to sit in the front rows where some props were placed, and they kept playing and singing something with gospel-music harmonies and words that I only gradually noticed were … well, non-traditional. The shift from pre-show into show was nearly un-detectable, as Brother Love (Noam Osband) and Sister Alice (Edna Mira Raia) welcomed us to their revival event. They also had backup musicians and a vocal chorus on stage. And their event became more and more outrageous, from declaring their motivation to raise funds (for alimonies, and for a trip to Helsinki to see Cher), to the various appeals and merchandise sales they were proposing. There were some opportunities for audience member participation, and I thought they were good at reading the audience and giving permission to decline. It’s marked PG – I think teenagers would probably enjoy it a lot but adults might squirm if their teenagers were in the room, instead of guffawing at the “I can’t believe they said that!” moments and frank discussion of sex. Apparently the show runs 75 minutes, but it is well paced and I was so caught up in it I was surprised when they cued that it was almost done.

Today I’ll be doing my first volunteer shift, maybe buying my first green onion cake, showing my artist pass on the bus for the first time this year, and enjoying Day 2 of Find Your Fringe. Hope you find yours! And if you see shows, tell people what you thought of them – in person, on whatever social media you use, on the comments below, or wherever else you hang out. One of the best things about Fringe is the way we build a communal experience, from our personal experiences. “Did you see …?” “Where were you when …?” “You really need to make time to see …!” Other blogs to check out include https://12thnight.ca/ and Finster Finds. There will be some reviews and previews at the Edmonton Journal (Check the Festivals tab, or Local Arts or Entertainment). Global TV news has an “eye-cam” on site and other features. Productions that have a St. Albert connection are covered by the St. Albert Gazette‘s arts reviewer. I’ll add more links to collections of media coverage as I find them – it shifts from year to year, and I still miss the VUE Weekly’s concerted effort to review every show within the first few days. Tag your own posts, anywhere public or semi-public, with the artists’ handles, with the Fringe’s handle, with a venue handle, to share your Fringe enthusiasms. See you on the grounds!