Review: Macbeth

The Play Which Dare Not Speak its Name
...theatre with the best intentions...
by Émilie Charlebois

Review: Basic Training (Zoofest)

One Man’s Show of Many Talents

Beyond the mesmerizing technical aspects of Ashanti’s performance, the content of “Basic Training” itself is far from ordinary.

by Émilie Charlebois

The only thing basic about Kahlil Ashanti’s “Basic Training” is the actor’s costume. The black workout outfit he wears throughout his performance truly serves as a canvas for the spectrum of personalities that cross the stage in it.  This may have been a one man show, but this wizard of a performer effortlessly slips in and out of no less than 14 characters, without ever skipping a beat or running out of breath…even when he is literally running on stage and simulating drill training exercises. 

Review: Redshift (Podcast)

Warzone

C'est La Vie goes into the heart of darkness

by Émilie Charlebois

I had heard positive things about C’est La Vie Theatre and so I sat down to listen to yesterday’s “Redshift” by Ed McNamara with pretty high hopes. First, I have to agree with Rachel Zuroff that it is super enjoyable to sit down for a play in your own home. It’s more comfortable, you can have a drink, and pause the performances or rewind them if there are any interruptions. I’ve been a fan of radio plays and dramas for a while. My family is made up of avid CBC radio listeners and I remember listening to some of the plays broadcast while returning from annual fishing trips. There’s something awesome about only listening to a performance. You really zone in and the imagery is all made up in your mind. I think my appreciation may have to do with this kind of transportation, similar to that provided by books, where for a moment you are in your own little world. 

Review: Between Gossip and Dreams (Fringe 2011)

Reviewed by Émilie Charlebois

I am still laughing about Between Gossip and Dreams the day after. The only problem is it was meant to be a dramatic musical. It was also the kind of drama that took itself waaayyyy too seriously and desperately tried to be deep and profound. I can’t help but suspect that director/writer/composer Clint Earle would get along famously with The Room’s Tommy Wiseau. And just like The Room, if you were to get shmammered and watch Between Gossip as a comedy, you would have a blast. I think there may have been an entire row of people attending who were doing just that and once I caught on to it, I had to suppress giggles for the rest of the performance.

Review: Austen For the Attention-Impaired (Fringe 2011)

Reviewed by Émilie Charlebois

Although this show and its brief synopses of Jane Austen’s repertoire are meant for the attention-impaired, it was pretty slow and awkwardly paced. The time allotted to every novel was unevenly distributed and there were way too many transitions within each snippet where Tali Brady and Pat Di Iorio continuously came and went from the stage or slowly walked up to their instruments, fixed their mics… The musical numbers, including the rapping, made the whole thing feel like a bit of an amateur talent show. It was very patchy and there were too many dead silences. The different styles with which they tried to summarize each work (e.g. Star Wars, Seinfeld, Variety Hour, etc.) weren’t fully fleshed out, nor did they add to the storytelling. Di Iorio is noticeably more comfortable on stage than his partner and there was no chemistry between them. A supposed romantic past between the two characters is awkwardly revealed at the very end and it’s totally unconvincing. The pair of them came off as a nagging brother-sister duo. Even when feelings were acknowledged, instead of the obvious passionate kiss (this is Austen after all), we got a fraternal shoulder squeeze. Overall, Austen For the Attention-Impaired was very nerdy (in an endearing way) and cute. It started out fairly strong with Pride and Prejudice and then had some brief moments afterwards. I do think that Jane Austen aficianados may appreciate it a bit more than I did. Based on the audience’s enjoyment I assume it just wasn’t my type of show.

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Review: blink blink blink (Fringe 2011)

Reviewed by Émilie Charlebois

I was already a fan of Kirsten Rasmussen after having seen her at last year’s Fringe festival in You & Me and Me & You and I am now contemplating following her so I can gather things she’s touched and build a shrine to her awesomeness in my bedroom. blink blink blink is (to borrow a line from the show) “Fucking Fantastic” (the adjective may have been amazing, I apologize if that is the case). And I don’t think I am the only one to think so. Every seat in the Freestanding Room was taken (there is an obvious pun to make here, but I shall resist) and the entire audience was in stitches. Laughter is meant to be shared and Rasmussen is a giver! Not a single piece of comedic material went without genuine giggles, guffaws or snorts. Rasmussen’s timing is unreal as she seamlessly allternates between characters (some of them adorable bunnies) and parallel storylines at an incredible pace, without ever missing a beat. As self-help guru Sara Tonin Rasmussen engages with her audience and reveals her character’s inner demons without getting too heavy or suddenly corrupting the play’s comedic value, by “getting real”. Sara Tonin’s darker moments were totally in keeping with her personality and rather than bum me out, they made me care about her. blink blink blink is smart, original, hilarious and touching. Kirsten Rasmussen’s star power is mind-blowing.

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Review: Quarter Life Calamity (Fringe 2011)

Reviewed by Émilie Charlebois

First off, it seems like Cabaret du Mile End is a tough venue to work in. The space is big and there never appears to be the number of audience members most Fringe performers deserve. Let’s face it, if you are one of 10 people dispersed in a room meant for 200, you feel a little more self-conscious about laughing since it almost feels like you are interrupting. Calamity is meant to be seen by a larger audience and people should go with their friends. Yeah, it’s a silly bro-medy that’s a little crude at times, but the entire cast does a great job of doing exactly what you would expect from this genre. The characters are a bunch of idiots who question their life goals, talk about sex and their commitment anxieties ….True, it’s been done, but that doesn’t make this show any less entertaining. These ‘dudes’ have great chemistry and are fun to watch.

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Review: JapJAP (Fringe 2011)

Reviewed by Émilie Charlebois

JapJAP tells the story of an alien, birthed from a spandex metallic blue cocoon at the very beginning, whose identity (race and gender) is debated over by its different body parts. Hands, stomach, boobs and knees all become highly opinionated puppets in this weird, thoughtful, smart and insanely creative piece. The performance is light and fun but its content deals with serious identity politics, carrying the message: “if you don’t know yourself, others will decide for you.” Una Aya Osato bears it all to show that she and the creature JapJAP have no shame and a crap load of talent. JapJAP is perfect for people looking for a quintessentially weird Fringe show that’s different and a little out there, but one that still lets the audience in.

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Review: Uncalled For Presents: The Trial of the Century (Fringe 2011)

Reviewed by Émilie Charlebois

I saw this show with someone who had never seen Uncalled For perform and someone like me, who has seen them many times. The verdict was still: delightful! The entire piece is an improvised trial with a special guest who’s name, background and crime are all decided by the audience who also supplies key witnesses and acts as the jury at the very end. Not only was it opening night, but this is the first time Uncalled For does something like this…and it kinda showed. The show started out a little rocky, but these guys never fail to make fun of themselves or each other when that happens, so the funny was still there (props to Dan Jeannotte’s snarky judge) and they pulled it all together for the end (Anders Yates’ closing statement was genius). As always, Uncalled For are a hoot to watch, and there is no doubt this show will only get better with every performance (every show is different)!

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Review: Madwomen's Late Night Cabaret (Fringe 2011)

Reviewed by Émilie Charlebois

This show’s main problem was timing and pacing, which caused most of the already pretty lame jokes, to fall flat. It also lacked a lot of fluidity as a whole since there was nothing that connected the different acts. Hosted by Ethel Merman, with Lizzy Borden on piano, the Madwomen’s Late Nite Cabaret features a line-up of historical females who sing songs that only vaguely associate them with their historical pasts. It felt like a never-ending series of bad puns. To be fair, the actual musical numbers aren’t bad since all the players are obviously talented vocalists. It would have been a bit more interesting to have less characters with more meaningful interactions between them and original dialogue and monologues that reference each character’s history, rather than simply recount events we can read about on Wikipedia. 

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Review: Horse Trade's Radio Star (Fringe 2011)

Reviewed by Émilie Charlebois

I didn’t even take notes during Tanya O’Debra’s mesmerizing performance because…well, I was mesmerized.  The script not only delivers the filthiness promised in the Fringe program, but it is sharp and along with O’Debra’s amazing voice talents, it hits all the right notes. This radio detective spoof is not only incredibly entertaining but it is wonderfully crafted.  The live sound and light effects are perfectly timed, and the program is even broken up by 40’s style commercial break parodies. This is a true gem and a must-see for all Fringe goers. The detective mystery itself isn’t that original (Rick McKindrick is hired to investigate the murder of a beautiful woman’s husband) but this play’s worth is in its characters (all performed by O’Debra), and Tanya O’Debra’s undeniable wit.

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Review: Improspection (Fringe 2011)

Reviewed by Émilie Charlebois

This all female bilingual improv group definitely has potential but it will be a while before they hit their stride. Improv is often, if not always a gamble: when it comes together it can be magical and when it goes nowhere it’s just awkward for everyone.  Although it was great to have Dan Jeannotte from Uncalled For as a special guest because his talent supported the other players, his presence also pointed out Improspection’s weaknesses rather then complimenting their strengths. The scenes created were all different and interesting, but the characters played within them lacked some diversity. Jeannotte’s presence should have featured within the improv group’s dynamic, not carry the show. The show was light and these women have a great energy about them and are obviously funny, but I can’t help but feel that they need a little practice. Then again, who is ever really “on” at 3pm on a Saturday?

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The Sunday Feature: An Interview With Uncalled For

How To Keep The Romance Alive in Your Improv Group: An Uncalled For Love Story

"I’m going to answer this in the most humble way I can think of. That is that, we are like the Beatles."

The boys talk about everything...and leaving the Fringe.

by Émilie Charlebois

After some record breaking email correspondence, I sat down for a few beers with Montreal Fringe veterans, Uncalled For’s Dan Jeannotte, Anders Yates and Matt Goldberg (also known as the 13th Hour’s Sweet Sweet Jimmy Priest, Zack Winters and Rufus O’Hallahan) to talk about relationships, being a nerd and of course the Fringe. It may have been the alcohol, the nachos, or the eleven year history they carry with them, but there was definitely a lot of love in the room.

News: Fringe Press Conference

Amy Blackmore and Patrick Brennan

21 reasons to Fringe

by Émilie Charlebois

I recently had the pleasure of loafing and traveling through Western Europe for six months. When you meet new people, especially while abroad, you will inevitably have to ask and be asked: ‘‘Where are you from?’’ Interestingly, it seems like Canadians often have to then also justify why they voluntarily live somewhere so cold. When you’re from Montreal it’s easy: the people, the food, ever-changing bilingualism, the parties, the wonderful cultural mixing, and most importantly, the summer. For three glorious months Montrealers develop winter amnesia as they are distracted by a multitude of festivals. And out of the all the festivities that are about to hit, the Montreal Fringe Festival may very well embody all the best parts the city has to offer. 

Within the dark chamber that is the Katacombes on St. Laurent, Amy Blackmore (Festival Director) and Patrick Brennan (Special Events Coordinator) presented the festival’s 21st edition with promises that this year will be bigger than ever. In order to accommodate the increased number of applications they received, Blackmore and her team expanded the festival’s reach with 30 venues, 700 performances and 500 artists. In order to get the word out sooner and draw in greater crowds, this year’s press conference was held two weeks earlier than usual, and Blackmore’s team extended publicity efforts to the South Shore as well as within schools. While the Fringe has a strong community feel and serves as a great place to showcase Montreal talent, it also gets global. This year’s Fringe will host a variety of international artists, originating from South Korea (Probationary Theater Company), New Orleans (Texpatriate Productions) and Australia (Weeping Spoon Productions), to name a few. 

Sunday Feature: Interview with Amy Blackmore

The Machine in Full-Metal Mode

"It’s sort of like being brought up in to the festival from the inside right away."

by Émilie Charlebois

Photos of Fringe HQ by Mainline Ghost

As the 21st edition of the St Ambroise Montreal Fringe Festival fast approaches, the Plateau-Mile End neighborhood is gearing up for its annual surge in cultural activities.  The Charlebois Post took this opportunity to talk with Amy Blackmore, who is succeeding Jeremy Hechtman as Festival director, in order to find out what to expect after 21 years of Montreal Fringe.

CHARPO:

You’ve been involved with the Fringe for a long time now, starting as a volunteer. What do you think your experience brings to the table now that you’re the Festival director? How has it helped you so far? 

BLACKMORE:

I think that the fact that I started off as a volunteer is probably one of the most important things that I am bringing to the table. The fact that I’ve spent ten years there, and I wasn’t just a volunteer. I was a volunteer, then I became an artist, then I started as the assistant to the producer (Jeremy Hechtman). It’s sort of like being brought up in to the festival from the inside right away. It might mean that I lack, to a certain extent, the experience of just being an audience member, but I think it’s interesting because I was brought in to the community right away. The values that the Fringe Festival holds, which are of community, neighborhood  and togetherness, were instilled in me right away. That’s what really attracted me to it and that’s what I hope to share with everyone else.

Review: Book Club

l-r: Johanna Nutter, Paula Costain, Alexandria Haber, Paula Jean Hixson
(photo: Darren Ell)

Who Brings a Gun to a Book Club Meeting?

Book Club’s actual plot and themes are pretty uninteresting

By Émilie Charlebois

When Ned Cox's Book Club promised “sex, drugs, violence and betrayal” I presumed I was going to sit down for an evening of lighthearted chick-lit satire. Wrong. While the first half  is definitely more of a comedy, and although cute jokes (particularly Paula Costain’s Kristel’s) are used to break up the tension actors craftily drag the audience into, there is a lot of drama and it is not as delicious as the Melrose Place or Degrassi Junior High variety. Due to the cast’s undeniable talent and the intimacy of the Freestanding Room venue, the Book Club experience is quite like being at a party when the only person you truly know has left for the bathroom or another serving of hummus and you find yourself talking to someone with loose lips who makes it their mission to either gossip about everyone else in the room, or volunteer very personal details about their life. You either listen eagerly and want to know more…or you get a little antsy. The emotional outbursts of all four characters in Book Club made me so uncomfortable that I found myself looking away or fiddling with my program. Despite the tension and feeling like a child watching adults fighting in front of me, to quote an exchange overheard between two fellow attendees: “Holy Acting!”