Review: The Templeton Philharmonic (Fringe 2011)

Reviewed by Gaëtan Charlebois

For most of this very happy 30 minutes of sketch comedy, I was laughing, but - good deal of the time I was wondering: Who are these young women and where the hell do they come from? Their performances - in a pile of tiny vignettes linked nicely together by outbursts of movement and dance - were incredibly proficient. The script, by the two (Briana Templeton and Gwynne Phillips) and their director (Kevin Matviw) wobbles occasionally with some long set-ups which are more interesting than the punchlines, but when they do characters (instead of jokes) - like two lunatic ladies who lunch - it is not only a marvel to behold but an absolute hoot. If you need a brisk theatrical wind to cool you down, this is the show! (BTW: They're from Toronto.)



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Robin (The Only Bar) Henderson's Fringe Blog

June 11, 2011

Hey Fringe,

And they are OFF - full Fringe style!!!  

The second night at “The Only Bar” unfurled itself with far less violence that our opening.  No fights tonight.  Not even any loud tonsil hockey between the Verres Sterilises regulars and our actors.  Game 5 between Boston and Vancouver was on in the back half of the bar last night and a wonderful thing happened:  the guys that had come in to watch the game watched us instead!!  They sat there attentive, focused and even shushing each other if anyone got too loud.  Most interestingly, some of them started to move forward into our “half” of the room, hanging out against the wall near the washrooms with full attention on the stage.  

Review: The Sods

Reviewed by Gaëtan L. Charlebois

This is a solo which could also be called: Variations on the Theme of Men and Porn. It has several characters, all played by Jason Thompson (who also wrote the work) and all of the characters work in or frequent a porn/stripper palace. We meet each of them in a monologue: the freaky Jack of All Arts and Master of none who draws the ladies inside (including his obsession, Baby Cunt), the man who cleans up the jizz (who shares his own scary porn fantasies), the man who runs the place (a neo-fascist who wraps his racism in theories surrounding Yoga) and Baby Cunt herself.

Review: Elevated (Fringe 2011)

Reviewed by Valerie Cardinal

Based on its posters, I was expecting Elevated: Pushing Buttons to be twee. It could have used more of that and less of the cliché Hollywood romantic comedy plot it actually had.

Linda and Dylan meet in a broken elevator, and then embark in a relationship that changes both their lives. They must first survive cliché after cliché in a narrative that I found highly implausible. The outcome actually made me a little angry because I felt Dylan didn’t deserve the “happy ending” he got. I’m not sure if this was perhaps the point Joseph Ste. Marie’s script was trying to make.

Review: The Last Straight Man in Theatre (Fringe 2011)

Reviewed by Valerie Cardinal

I didn’t know what to expect out of The Last Straight Man in Theatre, but it’s certainly not what I got – and that’s a good thing. Kurt Fitzpatrick’s one-man show was like seeing a sketch comedy troop, but all the characters are played by the same guy. Fitzpatrick creates a range of fun characters, from Miss Marie, the sassy black diner waitress to Guardino, the Venezuelan male prostitute.

He interacts with projections of pre-filmed versions of his characters, perfectly timing his responses and keeping the audience on their toes by switching characters mid-scene. The group of people he portrays all live in a wacky, weird town where everyone is a little lonely and a cat of enormous proportions is on the loose.

Review: ShLong Form Improv (Fringe 2011)

Reviewed by Bruce McKay

Comedy improv has just got to be one of the hardest acts to perform. I mean, just imagine spinning off a humorous routine with these words provided by your audience: electrolysis, butcher and Mount Everest. ShLong Form Improv, a four person troupe billing themselves as coming from South Korea, got to work and … well, I didn’t find them funny at all. Neither did I experience anything remotely approaching a laugh from any of the scenes which included, for example, robot tax collectors, students breaking into the principal’s office and a three-headed alien hiker on, you may have guessed, Mount Everest. However, two of the audience members present at my showing (there were seven of us) were in hysterics throughout and nicely highlighted the chasm between what some people find funny and what others don’t.

Review: eXs and Ohs (Fringe 2011)

Reviewed by Valerie Cardinal

eXs & Ohs is literally about X’s and O’s – hugs and kisses, love and sex, the beginning and end of relationships and everything in between. It’s the story of Wendy and Cassandra, two roommates with very different goals in the area of love and lust, and Joe, Wendy’s ex, who is trying to win back her affections. It’s also a commentary on sex, love and relationships, with a few interludes breaking up the actual narrative.

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.

Ford's Focus: Matt&Kyle&Matt

The Westie Boyz … a True Canadian Bromance

Weird is not just the purview of the Fringe

by Barbara Ford

WARNING: The following may not be suitable for all browsers. Only those of supreme intellect who possess a highly sophisticated wit should proceed. However do be careful as few among us are sufficiently armed to interpret the difference between fact and just a lotta horseshit when dealing with the fertile imaginations of the Westie Boyz.

DIRECTIONS FOR USE: Firmly plant tongue in cheek and proceed with caution. To be taken with a grain of salt.

Review: Lydia Lockett … JAZZ POETRY of the NEW BEAT GENERATION (Fringe 2011)

Reviewed by Bruce McKay

“This show is dedicated to nice people and, uh, I’m sure you’re all nice.” So began Ms Lydia Lockett’s performance of poems accompanied by soft jazzy music. I’m not sure what the ‘New Beat Generation’ is about – or if there even is such a thing – but here we get some descriptions of some really nice and, apparently, some really not-so-nice men from Ms Lockett’s past. The former are mythologized, and no clue given as to why, and her recounting of the latter show continuing resentment. The poems are so much about her that there is little left for us as audience. Disappointing, as well, was her use of the music: her voice felt juxtaposed upon it rather than as something that was truly inspired by it. Overall, this needs work and surely a clearer desire to entertain.
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