Review: The Only Bar (Fringe 2011)

reviewed by Gaëtan L. Charlebois

I am predisposed to liking the work of this company. I've seen plays of theirs and they've been joyously messy, yes, but also indicative of a group of artists who are willing to take huge risks. Nothing, however, prepared me for the polish of their latest work. For one thing, Alain Mercieca's text is more assured and less gimmicky, the actors are solid across the board (under director Robin Henderson)  and Mercieca's and JP Mortier's music is delightfully brave (reminding me - if you'll allow me to stretch a little - of Alban Berg and the way his operas allow percussive and sustained-voweled words to float away from and back to the music). But the evening is far less challenging than one with Berg. If it can be said that this company can be sweet, then it is sweet, and charming and touching.

Processed Theatre's Journey to The Fringe Part IV

Week 5: Our First Week of EDGES: A Song Cycle

By Nichole Carlone and Christopher Pineda

We are Processed Theatre. Last September we produced a successful “Reefer Madness: The Musical” at Mainline Theatre, and are now preparing for the debut of our second show, blindly hoping that we can continue to produce the quality and popularity of “Reefer Madness: The Musical.” 

So far we've had two sold out-shows, two half-full shows and a show with eight people. We have had press coverage online, in print and on the radio and most importantly, BUZZ! Fringe is a fickle beast where one person’s “masterpiece” is another’s "worst piece of shit ever". That's Fringe baby! No matter how good, or bad, or in between a show is, someone is always going to love it, or hate it, or in between it, and they get to tell the world through the always popular Fringe Buzz. 

EVENT: I'm Still Here (Fringe 2011)

CharPo's Picture of the Week, June 9, 2011

At the Fringe: Think Outside

One of those photos that puts you in the theatrical moment - 

one which you may not wish to live but are nevertheless dying to experience

Review: Bestiary (Podcast, C'est La Vie)

Animals' Tale

Bestiary consists of three independant stories told by famous animals from history. 

by Rachel Zuroff

Bestiary is a 48 minute podcast produced by the C’est la Vie theatre group. Made up of up and coming talent, C’est la Vie have previously staged Prisoner's Dilemma, In the Yichud Room, 8 Words that Ruined my Relationship, and Oreo. Bestiary consists of three independant stories told by famous animals from history. 

Fringe 2011 Profile: Hedwig and The Angry Inch

ANTONIO BAVARO GIVES GOOD HED (WIG) AT MONTREAL FRINGE!

“We are staging it to make it truer to Hedwig’s punk roots by having the perfect environment at Katacombes.”

by Richard Burnett (from Three Dollar Bill, with permission)

“I saw Hedwig and the Angry Inch in theatres the week it opened on a first date back in 2001,” says actor Antonio Bavaro (a.ka. Montreal drag queen Connie Lingua). “I have no idea where the guy I was with ended up, but I am still in adoration of [Hedwig creator] John Cameron Mitchell.”

Bavaro stars in the upcoming Montreal production of Hedwig and the Angry Inch at the Montreal Fringe Festival that will be performed beginning June 12 at local punk-rock club Katacombes on The Main.

Beyond the Fourth Wall, June 8, 2011

The Queen of the Night aria from Mozart's Magic Flute

(as you've never quite heard it)

Not Necessarily theatre (or Fringe) dates for your agenda
by Estelle Rosen

June 8-14

Art exhibition  

Structure of Things

Galerie espace

June 12

Tony Awards

June 18

Workshop  - The Magic  Flute

2295 St. Marc Room 502, 

514-352-5958

News: ELAN announces State of the Art Summit

ELAN QUEBEC ANNOUNCES 

2011 STATE OF THE ARTS SUMMIT

September 22-25

Four days of collective ideas, intellect, and talent!

Montreal, June 7, 2011 – The English Language Arts Network of Quebec returns this fall with an unprecedented four-day event that will unite hundreds of the brightest creative talents and cultural professionals from Quebec’s English-speaking arts community. The 2011 State of the Arts Summit (September 22-25) will permit us to collectively develop an action plan for the community’s growth over the next 5 to 10 years, probe the complex issues behind the community’s contributions to the province, and celebrate the artistic diversity that binds us all together!

News: QDF Summer Calendar Launch

Christopher Moore stars as Titus in Titus Andronicus. Photo by Brian Lauber

Too Much Talk, Not enough theatre - but Cat Lemieux keeps it fun

by Valerie Cardinal

The QDF’s Summer Calendar launch reminded audiences that although we’ve all got Fringe on the brain, there’s more to summer theatre than that. A record 320 people showed up for a warm evening on the terrace of the McAuslan Brewery to see a preview of some of the events of the summer. However, many appeared to show up only for the free beer; host Cat Lemieux had to threaten the back of the terrace at least three times during the show for making too much noise. 

Some acts featured scenes or songs from the upcoming production, while others were just talking. Performers from downtown to Hudson to the West Island showed up to invite audiences to their productions. There were also some impressively large casts crammed on the stage. As soon as I walked onto the terrace, I was swarmed by Roman citizens from The Montreal Shakespeare Theatre Company’s production of Titus Andronicus. As for WISTA’s Hairspray, 14 out of the 33 cast members showed up to serenade the audience with “Without Love.”

Theatre For Thought, June 7, Fringe Edition

What to See at the Fringe, Part III

Suicide(s) in Vegas is a Good Bet

joel fishbane

There’s an above-average assortment of text-based work at this year’s Fringe. Some are by emerging playwrights such as Andre Simmoneau, Joanne Sarazen and David Sklar; others are coming from established writers such as John Patrick Shanley, Oscar Wilde and John Cameron Mitchell. Then there’s Evan Placey, whose play Suicide(s) in Vegas will have its official premiere here at the Montreal Fringe. A Canadian / U.K. based writer who once won the RBC-Tarragon Emerging Playwright’s competition, Mr. Placey is now in that grey area between young virgin and old hat. In just a few years, he’s started working with London’s Hampstead Theatre and the Royal National Theatre. Meanwhile, a Hebrew translation of his play Mother of Him will soon premiere in Tel Aviv.