No Fear of a Fringe Planet

Monday’s reviewers tackled the opening weekend of the Fringe Festival

Reviews by E.G. Anderson, Stephanie Dawson, Amanda Farrell, Christine Matte, Robert Moyes, Bill Stuart and John Threlfall

If you’ve never Fringed before, this is the year for you. With a surprising number of five-star shows, some great touring productions, more venues than ever before and a remarkably strong showing of local talent, it’s clear that Mile Zero is in the midst of a small-scale theatrical renaissance at the moment—all of which makes for one of the best Fringe Festivals in recent memory. With the exception of four shows debuting after we went to press (three of which, however, we managed to pick up reviews of from our alt-weekly colleagues in Edmonton), our team of reviewers managed to catch every show that debuted in the first five days . . . so no complaining if you’re tired after three shows. Pick up a program guide, grab your button and get busy scheduling your shows for the final week of the fun. From comedy to tragedy and literally everything in between, it’s time to get out there on the Fringe.

The Adventures of Sherlock Holmes

* * * * * 

The gender game’s afoot in this unexpected twist on Conan Doyle’s classic detective. Otherwise played traditionally—deerstalker cap, magnifying glass, Dr. Watson and disguises intact—London Theatre’s revisionist “Shirley” Holmes is every bit as clever as the original, but that dash of girl power doesn’t hurt. Fresh and fun, don’t try to puzzle out these three mysteries; just let the mystery unfold and enjoy the cast’s roundly excellent performances. And while odd at first, it doesn’t take long before the idea of Holmes as a woman starts adding all manner of layers to the Great Detective. A Baker Street irregular, indeed!

--J.T.

Venue 4: Saturday 4:00, Sunday 5:00

 

Afterlife

* * * * *

One woman plays three women who find their lives lacking: A midwife seeks a child of her own, a homemaker questions how she spends her time and a modern woman has more than a bad day. Watching Afterlife is like watching the strange evolution of women—all they’ve gained and lost and never found. The three characters are devastatingly well-drawn and they evolve in unexpected directions, exploding out of stereotypes like shedding a dress. Superbly performed, Afterlife comfortably moves through the comic and painful. An absolute must-see show.

--E.G.A

Venue 3: Thursday 6:00, Friday 8:00, Saturday 11:30, Sunday 12:00

 

Boat Load

* * * * *

After wowing Victoria with Giant Invisible Robot at last year’s Fringe, Jayson MacDonald is back with his new solo show, the tale of a struggling actor’s journey to raise $1,000. Will he spend it on his ailing cat, Mr. Tangerine Man, or a performer showcase that will help him escape his small-town existence? Struggling actor references at the Fringe are a dime a dozen, but MacDonald’s touching charm makes this one rise above; you’ll laugh and cry at the same time. This show makes your heart hurt—and who knew the most touching scene would be a minute-long vignette of a grown man pretending to be a cat?

--A.F.

Venue 7: Thursday 7:00, Friday 6:30

 

Boom!

* * * *

Andrew Connor, half of Bellingham’s Cody Rivers Show, is back at this year’s Fringe with Boom!, the story of an ailing small town that hopes to be saved by a large corporation’s development project—where the main character is a bomb-maker and the big project is a high-tech space port. By pairing the everyday with the absurd—and performing several characters to hilarious effect—Connor makes Boom! pack an explosive punch. While it may not be quite as strong as his work with the Cody Rivers Show, this is still a great Fringe piece.

--A.F.

Venue 4: Thursday 6:00, Friday 9:30, Saturday 5:45, Sunday 1:30

 

Busty Rhymes with MC Hot Pink

* * * 

Billed as “Kiwi comedy with glands,” neo-burlesque queen Penny Ashton is more saucy than scintillating in a one-woman show that celebrates the raunchier pleasures of life. After a brief warmup riffing on the sheep-shagging traditions of her New Zealand homeland, “Busty Rhymes” sings a song about her big boobs—but done in such a way as to endear herself to both the men and women in the audience. And so the show goes, high-speed patter interspersed with witty songs about everything from supermarket singles nights to whether you should sleep with someone on the first date. Some of it is a bit laboured but this man-friendly feminist is a pro at creating a hot night of cabaret comedy.

--R.M.

Venue 5: Thursday 9:30, Friday 6:00, Saturday 12:30

 

Circumference

* * * ½

Ever see one of those shows where you just know you’re the wrong person to be watching it? (You know, where everyone else is busting a gut and you’re just kinda smiling?) That was me at Circumference. Despite a hilariously frantic performance and a well-crafted script with a strong emotional centre, I’ll admit I had trouble engaging with writer-actor Amy Salloway’s breakneck tale of obesity and prejudice . . . but I was definitely in the minority. There’s an obvious market in this age of the beauty myth for any show dealing with weight-based self-esteem issues, and the audience at my show were definitely eating it up. Roundly charming and cleverly filled out, most people will burn more than a few calories laughing along with Circumference.

--J.T.

Venue 5: Thursday 7:45, Saturday 9:30

 

The Darkside Cabaret

* * * *

From the excellent welcoming number through to the end, Jim Leard’s dusky musical is as sharp as a pair of vampire’s chompers. Brad LeCuyer’s score is pitch-perfect and the numbers stick with you long after the show. The performances are all solid and the play certainly achieves the tough balancing act of sexy and funny, particularly with some wonderful Mile Zero nods. This show definitely has the potential to evolve a bit and move beyond the Fringe to an even larger audience.

--B.S.

Venue 2: Thursday 8:15

 

Die Roten Punkte: Super Musikant

* * * * *

I didn’t think it possible, but the dysFUNctional Astrid and Otto Rot are back with an even more rock bang than last year’s show. The songs are even more clever and catchy, the music-geek nods more plentiful and they get the crowd up on their feet for this full orgasmic rock-und-roll experience. The show is amazing start to finish, but if you go for one thing, the choreography in their electropop masterpiece “Ich Bin Nicht Ein Roboteur . . .” had me cackling to lightheadedness. Even though I could only give it five stars, there’s way more in my mind.

--B.S.

Venue 1: Thursday 7:45, Friday 5:30, Saturday 11:00, Sunday 12:30

 

Dreams and Desires

* *  ½

Elizabeth is a troubled woman trying to separate her personal myth from reality, a physics professor who is coming unravelled under the pressure of a tormented past. While Barbara Bell is obviously a talented actor, seamlessly embodying various characters from her past and present and filling the rather-large stage, it’s the script here that is weak; the program says Bell “aims to express universal truths in the individual story of one woman,” but the story is a bit too universal to make it memorable.

--A.F.

Venue 1: Saturday 7:30, Sunday 4:00

 

The Face of Jizo

* *

A dramatic portrayal of post-Hiroshima survivor’s guilt, The Face of Jizo is the story of a father and daughter separated by tragedy—both emotionally and physically. Uncertain of why she lived while her loved ones perished, Mitsue can’t bring herself to follow new paths to happiness in her life and her father’s continous attempt to convince her otherwise seems always to fail. The bombing of Hiroshima has been widely interpreted in many art forms, so making an original or striking statement is a major challenge, one that Face doesn’t quite rise to meet. While the cast tries to breathe life into the play, there is little here that is unexpected.

--C.M.

Venue 1: Thursday 9:30

 

Fear of a Brown Planet

* * * * 

Fans of good standup comedy should run to catch this show—run, because this is great standup, and because it’s selling out. The charismatic Nile Séguin starts out high-energy and never flags. “There will be cursing,” he warns with a misleadingly innocent face, then launches into a bladder-emptying 60 minutes of material that flirts with deconstructing the business of standup before riffing on Barack Obama, pretending to be a motivational speaker, and the need for communication during sex. Séguin has a Rwandan dad and a Quebec mom, and he puts his biracial status to wicked good use as source material for much of his routine. Rude, often self-mocking and seriously funny, this guy has incredible chops.

--R.M.

Venue 12: Thursday 8:00, Friday 8:00, Saturday 8:00, Sunday 8:00

 

The Follies

* * * 

This Broadway-inspired production introduces itself as “a discontinuous series of unrelated acts,” which proves true. Based on the style and glamour of bygone eras, The Follies is a modern variety show, with song and dance and few things in between. This revealing look at the history of women sparks laughter and admiration. Parental guidance is advised on account of the burlesque element, but the show should be entertaining for most ages. At times, a little scattered, but for the most part a funny and spunky piece of vaudeville.

--E.G.A

Venue 5: Friday 9:45, Saturday 4:15

 

The Fred Wells Show

* * * * 

If you’re engaged by intimate historical monologues that breathe new life into days gone by, don’t miss this made-in-B.C. charmer about the man who brought hope to a faded part of the Cariboo and founded the town that bears his name. While the rest of the world was mired in the Great Depression, a retirement-age Fred Wells ignored the disbelief and scorn of others and followed his instincts to strike gold just outside of Barkerville, leaving behind a legacy of hope and trust that remains intact today. With a fascinating script by Danette Boucher (The Great Love of Queen Victoria) and a charming DeNiro-esque performance by James Douglas, this is a true story of honour and determination that can’t help but inspire.

--J.T.

Venue 4: Friday 4:00, Saturday 2:30, Sunday 6:45

 

Fuelled

* *

Fuelled opens with an angel presenting a class of aspiring seraphs a case study in divine intervention: Will, an alcoholic father of three, has an hour left to decide if he’ll leave his wife and family or stay the course, and said guardian angel appears to help him weigh the pros and cons. Interesting premise, but what follows is ho-hum: memories of an abusive father, a volatile marriage and sex, drugs and rock and roll. The pace is fast and furious—and with myriad characters being played by a single performer, it needs to be slowed down a bit for the audience to be able to keep up. While some of the stories Will shares are poignant and funny, they aren’t enough to make this show transcend.

--A.F.

Venue 3: Thursday 8:00, Saturday 9:45, Sunday 2:00

 

Grow Your Own Dinosaur

* *  ½

Samantha is a 20-year-old student stuck with a neurotic roommate and a pushy boyfriend. One night while she’s preparing to write a last-minute paper, the orange grow-your-own-dinosaur she bought ends up hatching into a full-grown, sassy Baryonx named Birch. The loud-mouthed dino ends up turning Samantha’s room—and her life—upside down. This is a Fringe show done by young theatre and writing students and it shows: it’s comprised of Facebook references, physical comedy and early-20s crises. There are definitely funny moments—Samantha’s roommate, Emma Kate, steals the show—but these young local up-and-comers need a couple more Fringes under their belts.

--A.F.

Venue 3: Saturday 1:00, Sunday 3:45

 

Ha!

* * * * * 

What more could a Saskatchewan farm boy want than a truck and 12 condoms? If you are Wes Borg, you want to move to Toronto to become a stand-up comic, and along the way hit the road with a mentor who is the poster child for excess. Firmly enveloped in this world with over 20 characters coming to life, the gem is seeing the female characters and family members so particularly well defined. Borg handles the countless character changes deftly and seamlessly, speedily hurtling the audience along the edgy raucous fun to a most satisfying conclusion. Two words: standing ovation.

--S.D.

Venue 10: Thursday 8:00, Friday 8:00, Saturday 8:00, Sunday 8:00

 

The History of Everything

* * * * * 

What happens when two interpretive performers break up before their last show together? A remarkable piece of theatre that happily intertwines the entirety of human existence with one relationship rift. Through acrobatic dance and pop-culture references, two spectacular actors provide a quick history lesson while exorcising their own feelings on the purpose of human evolution. The result is a highly original and well-written spectacle that never ceases to entertain. Visually impressive, genuinely engaging and perhaps the funniest show in the Fringe, The History of Everything is the show no one should miss.

--E.G.A

Venue 7: Friday 8:15, Saturday 9:45, Sunday 4:30

 

How to Fake Clinical Depression

* * * * 

As an NYU graduate-cum-tanning-salon employee-cum anti-depressant research subject, Steven Marrocco’s show is slightly ridiculous, off-colour and over-the-top—exactly what many of us enjoy about the Fringe. Taking that extra step to include graphic images, theme songs and sound effects adds a lot to his one-man portrayal of his Italian goofball-popping family, a overly macho sexologist and the sexy research assistant who motivates Marrocco through his twisted trip to anti-depressant numbness and back. This character strikes that balance between pathetic and clever that allows us to guiltlessly laugh both with him and at him.

--C.M.

Venue 1: Saturday 9:15, Sunday 5:45

 

I Ain’t Dead Yet

* * * 

If you don’t know anything about Woody Guthrie but think you should, check out this one-hour bioconcert featuring a selection of songs and stories depicting the equally inspiring and depressing life of America’s famed Dustbowl Balladeer. Good music and an intense performance by Tim Machin add to an already-engaging true story, but there’s an element of assumed familiarity in writer-director Ashley Wright’s script that leaves a few gaps in the story, and the reverse narrative doesn’t completely work. And maybe I just don’t have enough Guthrie albums in my collection, but I would’ve loved to have heard at least one familiar tune. That said, I Ain’t Dead Yet should be mandatory viewing for anyone looking to brush up on their activist roots.

--J.T.

Venue 4: Friday 11:15, Saturday 12:45

 

Inferno Sonata

* * * 

August Strindberg, a 19th-Century playwright, abandons the theatre in favour of another pursuit—the secret of alchemy, turning common elements into gold. Structured as Strindberg (played by Edmonton’s Scott Sharplin) making a presentation of his search to the audience, this show is based on the man’s real-life story of trying to use his alchemical discoveries to win back his wife and child and defeat his rival, Henrik Ibsen. Sharplin’s manic mood swings garnered laughs, but even at an hour, this show felt long-winded. An amusing history lesson, but nothing to write home about.

--A.F.

Venue 3: Thursday 9:45, Saturday 8:00, Sunday 9:00

 

Jake’s Gift

* * * * *

If you missed Julia Mackey’s award-winning debut at the Fringe last year, or her return to this year’s UNO Fest, please, please, don’t pass up the chance to see Jake’s Gift. It’s hard to say which is better—her script about a reluctant veteran’s return to Juno Beach or her twin performances as a 10-year-old girl and 80-year-old man, both of which, in 60 minutes, speak more to the heart about Canada’s role in WWII than would a six-hour NFB documentary. Without a doubt, Jake’s Gift is one of the most moving and unashamedly heartfelt pieces of solo theatre that has graced a stage in a long time; put it up there with the likes of The Shape of a Girl and I, Claudia—it’s simply that good.

--J.T.

Venue 7: Saturday 4:30, Venue 2: Sunday 11:00

 

Kaliban

* * * *

Ever since Tom Stoppard breathed new life into Rosencrantz and Guildenstern, playwrights have been exploring the backstory of all manner of Shakespearean side characters—two of which, Yorick and Kaliban, put in appearances at this year’s Fringe. A further development of the hilariously intelligent one-man production glimpsed as a fill-in during the 2004 Fringe, this more polished version remains a darkly charming effort by a talented writer-actor unafraid to exploit the ugly side of humanity—or the intellectual side of a script—in search of a fresh blast of Bard. If Big Bill is on your must-see list, don’t pass up a date with Kaliban.

--J.T.

Venue 6: Thursday 6:30, Saturday 8:15, Sunday 5:30

 

The Last Gig of Lenny Breau

* * * 

Musical contributions to the Fringe are usually among the more unique shows. While Lenny Breau is unlike the rest of the festival’s options, it isn’t much different than what is available at Hemann’s Jazz Club during any other time of year. Colin Godbout is a gifted guitarist, expertly in sync with his percussionist Charlebois; however, the handful of scenes around which they frame their musical performance feels like an afterthought, especially since an instrumental performance that takes up nearly 80 percent of the running can’t really propel the narrative forward. Best suited to those looking for a cocktail, some munchies and some smooth jazz to kick-start a night of fringing.

--C.M.

Venue 9: Thursday 6:30, Friday 6:30, Saturday 6:30

 

Les Ms.

* * * ½

Two high-energy gals tear a strip off French history—and the glitzy trappings of the modern musical—in this zany micro version of Les Miserables, complete with barricade, revolution, power ballads and a li’l nasty Nelly Furtado thrown in for good measure. The performances by Robyn Lamb and Lisel Forst are hilarious and the songs true enough to the original to have both fans and newbies hooting, but you’ll definitely enjoy this more if you’ve actually seen Les Mis; otherwise, you might think you’re watching an extended comedy sketch or a night at Atomic Vaudeville . . . not that either is a bad thing, mind you.

--J.T.

Venue 3: Friday 10:00, Saturday 6:15

 

Letters at Large

* * * 

Last in town for the 2005 Fringe, Jeff Sinclair makes a welcome return with his familiar shtick about sending phony letters to big companies in hopes that his eccentric missives will elicit some kind of entertainingly non-corporate response. More playful than pranksterish, Sinclair does things like write in the persona of a 12-year-old Korean girl, or pose as a father while writing to mattress companies expressing concern because his young son worries about monsters under the bed. And he cleverly panders to local chauvinism by including letters from BC Ferries and BC Hydro. Sinclair’s approach is never more than whimsical, while his confident presentation, notwithstanding numerous quips and asides, is more Toastmasters than theatre. That said, he has crafted a laugh-out-loud crowd-pleaser and has the charm to connect with an audience.

--R.M.

Venue 6: Friday 6:30, Saturday 6:30, Sunday 9:00

 

Lysistrata’s War

* * ½

I hate to harp on technical issues, especially when it’s the first staging at the Fringe, but the sound levels of the ambitious Lysistrata’s War were quite out of whack and detracted from the overall production. Hopefully that’s all sorted by the time you read this. There are a few strong performances, particularly Stephanie Grigsby and Sharon Kerrigan and most importantly, it’s nice to see a classic work whose message is still relevant today.

--B.S.

Venue 2: Thursday 6:00, Saturday 10:30, Sunday 1:00

 

The Mathemagician’s Apprentice

*

This is a show best described as DIY theatre. Fellow audience members will be your primary companions on this strange journey, and don’t worry, you’ll be given name tags to help acquaint yourselves. Stragetically planted VHS and audio tapes and diagrams are the primary conveyors of story here in this utterly disorienting and semi-improvised interactive production. The Mathemagician and his apprentice are a bizarre source of humour as you’re exposed to the convoluted logic of eccentric academic obsessed with a miracle-making-machine. Head-scratchingly original. And presented from the venue’s bathroom.

--C.M.

Venue 11: Thursday 7:00, 8:00 and 9:00, Friday 7:00, 8:00 and 9:00, Saturday 7:00, 8:00 and 9:00

 

The Measure of Love

* * *  ½

Two women in their late fifties act out the defining moments of their friendship, which dissolved 40 years ago. Interesting and uplifting, The Measure of Love is an understated drama about the things that hold us together and hold us back. Jean Topham and Geli Bartlett demonstrate that actors get better with age, as they give convincing and delicate performances. This light and largely comic look at how quickly the past can affix the future delivers with wit, suspense and surprises.

--E.G.A

Venue 6: Friday 3:30, 10:00, Saturday 2:45, Sunday 7:15

 

The Mechanical Bride

* * * ½

This quick and quirky play moves through technology’s growing impact on humanity’s interactions, as a post-modern Adam and Eve try to navigate what’s left of the world together. Can they survive the crossed wires and mixed signals of the computer age? Awkward, hilarious and accurate, The Mechanical Bride reminds us not to complicate what’s simple. If the flashing screens and loud noises can’t hold your 20th-century attention span, the stellar acting will keep you tuned in. Ultimately endearing, The Mechanical Bride is a sci-fi rom-com for our increasingly metallic age.

--E.G.A

Venue 5: Thursday 6:00, Saturday 6:00

 

Mr. Fox

* * * *

Ever peered into the meshy eyes of a mascot and wondered, “Who’s in there?” The answer is Greg Landucci, who recounts the exhilarating highs—and blistering lows—of being the mascot for Vancouver’s CFOX Radio and a BCIT broadcasting student who idolizes CFOX hosts Larry and Willie. The brilliant simplicity of the show lies in the limitations of mascotting: no showing the real face and no speaking. Like a radio host, Landucci segueways through ridiculous stories—sharing the mascot suit, riding the Twister and facing off against other mascots—in an hour of physical and verbal gymnastics with enthusiasm only appropriate for someone in a massive fuzzy animal suit. Landucci is an expert comic storyteller.

--C.M.

Venue 3: Friday 11:30, Saturday 2:30, Sunday 5:15

 

Old Growth

* * * *

Set in 1997, Old Growth is the story of Alex and Aura, two enviro-activists who have made a pilgrimage from Ontario to visit the felled Golden Spruce of Haida-Gwaii. Retracing the steps of Grant Hadwin, the man who felled the mighty tree, the young couple hope to perform a ritual that will infuse Alex with shamanistic powers. While Alex and Aura’s self-righteous, naïve environmentalism is really in-your-face (particularly during the climax, which ran a little long), watching the dynamics between them takes this far beyond preachy environmental fodder. Part history lesson, part magic show, part cautionary tale, part love story, all compelling.

--A.F.

Venue 6: Thursday 8:15, Saturday 10:00, Sunday 3:45

 

Orbit

* * * *

Despite the fact that multi-character seriocomic monologues are the Fringe flavour of the decade (thus the ripples of TJ), Orbit is a justified winner of this year’s Petri Dish New Play Contest. Brie Wittman’s engaging, emotional tale of a 12-year-old girl with a burning secret and her dead dog’s ashes is realistically brought to life by Kaitlin Williams, who plays three other characters as well; some (the mother) better than others (the grandfather). While there’s a few too many twists on the way to the final “reveal,” Wittman’s intelligent script manages to keep the audience hooked right to the end, and I admired both Jen Quinn’s direction and set design, as well as the show’s final, almost subtle moment of hope. File this one under the “talents to watch out for” department.

--J.T.

Venue 4: Thursday 7:45, Saturday 7:30, Sunday 8:15

 

A Place with the Pigs

* * * *

If you think your life is tough, you need to see this truth-based story of army deserter Pavel Ivanovich Navrotsky and his saint-patient wife Praskovya. Walter Brody and Kristine Holtvedt are both wonderful in their respective roles, with Brody throwing himself fully into the mostly solitary madness of the pigsty and Holtvedt making a wonderful moral compass. My only question: if Pavel was hiding out in a pigsty, how did the neighbours not hear all the yelling?

--B.S.

Venue 3: Friday 6:00

 

Romeo & Juliet

* * *

Playing 12 characters is an ambitious undertaking, even without staging a swordfight between them. In one hour, one man attempts to tell the story of the infamous young lovers using the traditional words and acting with a modern spin. The extremely clever interpretation is surprising easy to follow. The sole actor stretches his vast talent as far as it can go, which is an impressive distance. At times, what should be tragic slips unintentionally into the comic, if only because Juliet is a hard role for any man to play (at least, in the 21st century). An entertaining and admirable effort, though it requires a little more imagination than most.

--E.G.A

Venue 4: Friday 7:45, Saturday 11:00

 

SeriousBucks

* * * ½

It’s an experience most of us can relate to: the grind of plastering on that smile every day and walking into a service-industry job that you hate because you have bills to pay and lack the motivation to find anything better. Local actress Kelly Hudson delivers a performance more bitter than burnt espresso, and while the script could use a little tightening and Hudson wasn’t quite in top form (there were a few flubbed lines, but she handled it well), the audience was still in stitches most of the show. I can only imagine this one will get stronger as its run goes on.

--A.F.

Venue 5: Saturday 7:45

 

Sev

* * * *

Working at the 7-Eleven (a.k.a. Sev) has got to be tough—juggling endless duties like lotto machines on the blink, teen jerks looking for extra-large condoms, coffee-cup protocol, Slurpee alarms and general mayhem on soccer Saturdays. Drawing heavily on his past personal experiences at a Nelson B.C. “sev”, Charles Ross (of One Man Star Wars Trilogy fame) imagines himself as a warrior defeating the hordes of customers that walk through the door. Rather heavy-handed with the sword play at times, refreshment comes in the form of some surprisingly sweet moments that steal the show.

--S.D.

Venue 2: Friday 9:00, Saturday 3:15, Sunday 8:45

 

The Skinny Presents: Adventures in X-Ray Theatre

* * * * ½

Sock garter fetishists take heed: this show is for you! And anyone else who wants to laugh themselves breathless at some rapid-fire sketches and wonderful audience interaction. Check your political correctness at the door and enjoy. The Skinny trio are only so in physicality, as their show is robust and ready to stuff you with chuckles. I’d love to list all the clever pop-culture moments this amazing trio hit on, but that would ruin some amazing setups, so just go see for yourself. I will say that you’ll never watch 2001: A Space Odyssey quite the same way again.

--B.S.

Venue 2: Saturday 9:00, Sunday 3:15

 

The Sputniks

* * * * ½

Katya Sputnik is the daughter of two Jewish Russian immigrants who fled to Canada to escape the Iron Curtain. The endearing young girl draws her family’s story out from her mother and father, taking us from the couple’s second meeting (in a lineup, a common occurrence in Soviet Russia) to their political persecution and subsequent flight to Switzerland and eventual arrival in Canada. Elison Zasko easily plays all three parts, jumping from curious child to scheming dad to neurotic mom without missing a beat. Katya is the perfect vehicle for the story, particularly once the play reaches its poignant and heart-wrenching ending.

--A.F.

Venue 7: Friday 9:45, Saturday 8:00, Sunday 7:45

 

The Spy

* * * ½

Australia’s rubber-faced Jonno Katz is one of the most welcome Fringe regulars, and this show is a “dream team” collaboration with Mark Chavez (of Pajama Men fame) as director. Katz specializes in a tricky postmodern style of surreal slapstick, with lowbrow and highbrow elements bouncing off of each other—usually to dazzling effect. In The Spy, Katz plays a ’70s-era agent for Britain’s MI-6 who, while trying to stop an assassination, discovers that there is a Soviet mole burrowed deep within his own agency. There’s not a whole lot at stake here, but Katz, as always, is a master performer: whether miming a montage of superspy shenanigans or engaging in a totally gratuitous tropical whistling interlude, the man is devilishly funny. Chekov it ain’t, but this Spy will get you high.

--R.M.

Venue 2: Thursday 10:15 Friday 5:30, Saturday 7:15, Sunday 7:00

 

Stripes: The Mystery Circus

* * * *

With a booming voice and a rocking bod, Sarah Hayward is a master of the small stage. Her solo theatrical cabaret about a woman auditioning to be seven different circus acts enchants the audience with its spunk and skill. It’s multiple-personality disorder set to music, complete with costumes and swiveling hips, as one woman sums up her life is a series of metaphorical tricks. It’s not all song and dance, as there are dips into the darker parts of life’s circus, but, like a trapeze stunt, it ends on a high note.

--E.G.A

Venue 1: Friday 7:15, Saturday 2:15

 

Swimming to Cambodia

* * * * *

Looking for a nearly impossible theatrical challenge? Take an iconic monologue by one of the undisputed masters of the form and breathe fresh life into it, without diminishing the script’s original power. Such is the task facing Shawn Watson with Spalding Gray’s Swimming to Cambodia. Perhaps even more relevant now than when it debuted 20-odd years ago, Gray’s tale of The Killing Fields remains a powerful piece of theatre and Watson does it proud with his captivating, maniacal and high-energy (at least, from the waist up) performance. Simple lighting, an evocative sound design and confident direction by Graham McDonald make this an enviable meeting of script and talent.

--J.T.

Venue 7: Thursday 8:45, Saturday 6:15, Sunday 6:00

 

Talking Hands

* * *

While I’m all for seeing dance at the Fringe—not to mention seeing the festival used as a way to launch new local performance initiatives—I’d have to say that Talking Hands, Leah Wickes’ meditation on exploring connection via touch, just didn’t do it for me. While the theme of touch and hands was clear in the dancers’ movements, the narrative of the individual vignettes wasn’t clear—if one was even intended—and the more compelling pieces in the show ended right as I was getting into them. That being said, these five talented performers danced beautifully. If you’re interested in local modern dance, don’t miss this one—but if you’re looking for a more traditional Fringe show with elements of dance, this might not be for you.

--A.F.

Venue 2: Friday 7:15, Saturday 5:15

 

Totem Figures

* * * * ½

Local Fringe fave TJ Dawe is back with his latest rumination on life, the universe and everything. This one is an all-encompassing look at Dawe’s Fringe career (this is his tenth solo Fringe show) and all the things that have influenced his artistic career, whether they be poets, novels or his own father. As always, Dawe’s rapid-fire delivery and clever humour make for a funny, thought-provoking show, albeit one that probably could have been about 20 minutes shorter and still been just as good.

--A.F.

Venue 2: Thursday 3:45, Friday 11:00 p.m., Saturday 1:00, Sunday 4:45

 

Waiting for André

* *

When they work well, multi-character (and assumedly autobiographical) monologues shifting in time and place can be utterly engaging; unfortunately, Waiting for André simply isn’t one of those shows. Far too metatheatrical and self-aware for its own good, any show that features a subplot about why people don’t go to the theatre needs to be absolutely bulletproof lest it encourages its audience to mutter, “This is why.” 40 minutes of material dragged out well over an hour, this is a performance that just seems to go on and on and on and on . . . with about that level of variation in tone, theme and emotional engagement. Not every actor can pull off this style of show; nor should they all try.

--J.T.

Venue 1: Friday 9:00, Saturday 1:30

 

Who’s Afraid of Tippi Seagram?

* * * *½

The only people who should be afraid of Tippi Seagram are those who take themselves too seriously. Tippi will sense your uptightness and exploit it like the fabulous sabretoothed bitch that she is. The best part about her show is that it will change on any given night depending on the audience reaction. Let loose and let Tippi knock you down a few pegs. And though Tippi would be as fabulous as ever in any venue, it would be an even more enjoyable show if the audience were able to down a couple of martinis right along with Tippi.

--B.S.

Venue 3: Saturday 4:30, Sunday 7:15

 

Yorick!

* ½

You’ve probably heard the theory that Shakespeare didn’t know how to write rich parts for women, but did you ever consider how he treated the jesters and fools? Poor Yorick, few of us knew him well—other than Hamlet, which is exactly the point of Mark Leiren-Young’s one-man whirlwind through the Bard’s life and work as told by this ghost of a fringe character. As expected, the writing is quick, tackling everything from minstrel-macking damsels to whoopee cushions in court, with lesser-known Shakespearean scenes in between. Unfourtunately, the payoff doesn’t increase as the show goes on, and the sheer volume of puns, props and side stories was enough to make this otherwise comic premise feel over-stuffed.

--C.M.

Venue 5: Friday 7:45, Saturday 2:15

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Late Arrivals

With four shows opening after we went to press, but only three of them out on the Fringe circuit (sorry, Into the Woods), we picked up a trio of reviews from VUE Weekly, our sister alt-weekly paper in Edmonton. Sure, we’d rather have our own say, but hey, it’s always better to have something than nothing.

Crude Love

* * * * *   

Abbie Waxman (Russell Bennett) is such a wild eco-warrior that even Greenpeace wants nothing to do with him. One day, while carrying out his latest protest, Abbie bumps heads with Phyllis McCormack (Gillian Bennett), who was one of his childhood crushes and is now a driver for Syncrude. From here the play takes a number of turns: at times hilarious, at times thoughtful and at times heartbreaking. Truly, the Bennetts have put together a well-written, well-researched and compelling story that also tackles some incredibly relevant issues. It’s no surprise then that many audience members jumped to their feet at the end of the show, and most left the theatre buzzing.

--Bryan Saunders

Venue 1: Friday 11:15, Saturday 3:45, Sunday 9:30

 

It is Better to Ride the Dung Beetle Than it is to Tread on Soft Carpet  

* *

Eccentric, existential and absurd. That probably about sums this play up. Beyond that, I can’t really tell you about the plot. It’s not because that’d ruin the play, but because it doesn’t have a plot, really. Borrowing from Dadaism, Surrealism and Theatre of the Absurd, this show is certainly different from any others you’ll see at the Fringe this year. Rife with ridiculously awkward situations and numerous public-health violations, the purpose of the play is to create an experience shared between the audience and the performer, according to the handbill. Indeed, actor and writer Lucy Hutson has certainly created a memorable show. Just don’t expect it to make any sense.

--Bryan Saunders

Venue 6: Friday 8:15, Saturday 1:00 and 4:45, Sunday 2:00

 

Jem Rolls: How I Stopped Worrying and Learned to Love the Mall

* * * *

For a full hour Jem launches into a passionate tirade debunking most everything about capitalism. With limitless energy he bounds up and down the stage, throws his arms around, runs up and down the aisles. It’s nothing anyone who hates box stores hasn’t heard before, but Jem expresses his loathing in rhyme, long sentences he says forwards and backwards, repetition, superb rhetoric and marvelous use of synonyms. He even sings at one point and he doesn’t use any swear words. This is a very deep, intellectual play—you better bring a coffee and be prepared to listen carefully. But it’s terminally critical and you’ll never think of shopping the same way again.

--Joel Semchuck

Venue 4: Thursday 9:30, Friday 6:00, Saturday 9:15, Sunday 3:15

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150 Reasons to Love the Fringe

Thanks to a last-minute BC 150 grant, the Fringe will be presenting a series of special free showings featuring three performances showcasing important historical elements in Canadian history, B.C.’s past and the excellence of homegrown talent: The Fred Wells Show, The Measure of Love and Jake’s Gift.

“The Fringe is all about creating a community of artists and audiences, supporting homegrown work and trying new things,” says producer Janet Munsil. “We’re really pleased to be able to present some of the excellent and exciting B.C.-created work as part of our BC 150 Celebration at the Fringe this year.”

Not only will you get a free Fringe VISA button (a $5 value and good for other Fringe shows as well) but you can also see three specific performances at absolutely no cost to yourself. Don’t forget, the special free admission only applies to the showtimes listed below:

• The Fred Wells Show by Victoria’s Histrionic’s Theatre Company: 4 p.m. Friday, August 29, at St. Andrews School Gymnasium, 1002 Pandora.

• The Measure of Love, by Victoria’s Tops Theatre Company: 3:30 p.m. Friday, August 29, at the Intrepid Theatre Club, 1609 Blanshard.

• Jake’s Gift, by Julia Mackey of Juno Productions: 11 a.m. Sunday, August 31 at Metro Studio, 1411 Quadra.

Seating is limited and tickets will be provided on a first-come, first-served basis only. Patrons should arrive at the door of the venue where the performance is being held to collect their tickets, and the box office opens one hour before showtime. No advance tickets are available for these special performances.

Monday’s reviewers tackled the opening weekend

of the Fringe Festival