Review: God is a Scottish Drag Queen (Fringe)

by Janis Kirshner 

I had been looking forward to this show; it came with good cred from previous performances. I could see that Mike Delamont is a veteran stand-up comedian with wonderful audience rapport and a quick off the cuff wit. There’s a great opening voice-over. However, perhaps an off night when I saw it, the show never really took off for me. I love the concept - God has come down to earth wearing a women’s power suit from the 80’s and no shoes. There were some very good lines, notably: “I should have stopped at monkeys”, “I made a mistake with redheads - they’re either beauty queens or garden gnomes” and “The bagpipes - leave it to the Scots to make our national instrument out of our national food.” But most of the jokes just didn’t seem fresh. Mind you, he doesn’t always get through all his material and does go off on tangents, so perhaps other nights were more on the mark. He is however a likeable performer and his sincere, tender farewell put a smile on my face.

Tickets

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Review: I'm Still Here (Fringe 2011)

Reviewed by Janis Kirshner

Writer/actor Margarita Romero, as Ana Martinez, starts from behind the audience, “Can you see me?”… “How about now?”  We wonder, who is this woman and where is this story going? That’s a good thing. Romero, as Ana the waitress, is likeable and we want to listen to her. We learn she played the piano as a child, was a cultural journalist in Peru, had a loving marriage to Miguel, has a daughter.

Review: Zip and Wick #72: Endings (Fringe 2011)

Reviewed by Janis Kirshner

It started out a somewhat promising story about superheroes… Zip (Jenna Gogan) finally makes her way up to the high Paris loft, where we find Wick (Greg Van de Mark).
Zip: I’m really tired.
Wick: So am I.
Zip: Why, did you fly here?

Review: Suicide(s) in Vegas

Reviewed by Janis Kirshner

This is a very watchable Canadian play produced by an American company made up of people who met in Seoul, Korea. And like its origins, the sum of its parts makes for a very good whole. Lydia (performed by South African Elinza Pretorius) and Jane (American Amber Green) work beautifully together and apart, playing their own roles to a tee as well as various minor characters. There’s a nice structure to the play and I cared where the story was going and how it would all end. That’s more than half the battle right there when going to the theatre.

Review: The Birth of Weza or Go F@#k Your Mother (Fringe 2011)

Reviewed by Janis Kirshner

Day one and I’ve already found a keeper; book tix asap to this one. Joanne Sarazen, whose goofy play titles belie the depth of her work, has an ear for dialogue and a dry, delicious sense of humour. This is seamlessly combined with Tamara Brown’s swift directing (in a difficult space) and a strong cast. In part it is wacky and out there, but is also so grounded. Owen Clark (Tom), Catherine Lemieux (Susan), Michael Payette (Will) and Lindsay Wilson (Eleanor) make it look effortless. And the writing, including a storyline about a writer, is eminently quotable: “Intelligent people aren’t having babies anymore.” “It’s not that I undervalue motherhood, it’s just that I’d rather kill myself than have a baby.” “People can be so socially retarded when they’re too educated.” This is a funny, smart, tight script about beauty, disappointment, second chances and the idea of legacy.

Review: Zack Adams; Love Songs For Future Girl (Fringe 2011)

Reviewed by Janis Kirshner

Promising. I walked in to the groove of Bob Dylan pre-show music. A wonderful mix of pre-show music in fact, to get you in the mood. That, unfortunately, might have been some of the best music in the show. Zack Adams, an actor/comedian from Western Australia, is a professional performer with a degree. I just wanted the show to be funnier or deeper or goofier or more of any other adjective besides mediocre.