OTTAWA FRINGE FESTIVAL
THESPIAN REVIEWS INNA NUTSHELL
john sekerka
SADEC 1965: A LOVE STORY
FLORA LE
(Studio 1201)
Mid life crisis come early, Flora takes her difficult father's health spiral as a cue to disrupt her aimless life on a soul searching motorcycle trek in her family's Vietnam.
Weaving timelines between bedside visits and the open road, Flora switches back and forth to create an evolving narrative of her difficult journey on separate continents. The tale is told matter of factly, carefully, almost cold, but oddly effective. The story is the star.
As good as this was, it would benefit from some visuals from the spectacular landscapes of Vietnam (as teased on preview night).
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MAXIMUM CRUSOE
JEM ROLLS
(Atelier)
Finally, a pandemic tale celebrating life's bizarre twists of fate. Exiled (sort of) to an idyllic Indian beach with the barest of necessities, and nothing but time to contemplate life's quirky mysteries as the world stopped spinning, Fringe fave Jem Rolls recounts his half year of surreal enlightenment.
Eschewing the usual historic lectures of festivals past, but thankfully with the expected wit and bouncy prose intact, Jem instead looks inward for a personal snapshot of the most puzzling collective moment in our recent time.
A stage force sans props or bombast, armed with a sole spotlight, Jem uses his extraordinary, flowy words to enrapture for a very swift hour. A talkie, but a goodie.
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KIMIKO
KAYLIE KREATRIX
(Atelier)
I made an origami crane! Well, Kimiko helped. Helped a lot.
About as sweet a show as can be found at the Fringe, this visual dessert of Japanese circus performance, is part history lesson, part self-discovery tale and all the feels. Dance, puppetry, juggling, sword swallowing and a kimono lesson.
Well balanced and a visual feast, this will appease all ages, especially those single digiters (very vocal on this night). And most will go home with a crane. No wonder it is selling out.
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THE STAKEOUT
MARTIN DOCKERY and ANDREW BROADDUS
(Odd Box)
I feel you. A statement that has so many possibilities. That's the beauty of a Martin Dockery vehicle: word play is always in, uh, play. "The Stakeout" moves away from his usual monotravelogue sweet spot into a buddy-buddy wordy-wordy spar during a stakeout. A stakeout that is full of mystery, even to the stakeouters. There’s confusion, and doubt, and blurred lines, and not all of it is due to a dirty windshield.
Young old, rookie vet, father son, son father, there's a flippy floppy yin-yang deliciousness to this Lazy Susan platter of thespian appetizers. What goes around comes around in what might be a virtual house of mirrors.
Snappy answers to probing questions fly back and forth in head-spinning succession. The witty banter carefully uncovers some deep dark thoughts behind the bravado staccato mansplaining, as comedy turns to drama at the drop of a hat. Dockery and Broaddus engage in a well choreographed scrap, jabbing zingers at the speed of spit with nary a slip.
A wonderfully complex story slowly unravels amidst the verbal slapstick, bringing everything full circle. Maybe more. And in this case, more is definitely good.
Not to be. missed.
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THE MERKIN SISTERS
INGRID HANSEN and STEPHANIE MORIN-ROBERT
(Arts Court Theatre)
MERKIN, noun. an artificial hairpiece for the pudendum; a pubic wig.
Bring the kids!
Now here's a show that breaks down walls from the get go, lovingly mauling the audience. No time to be uncomfortably squeamish, as the female physique is enthusiastically celebrated with outlandish body manipulations, giant hair pieces, clever props, and a series of "wow" bits.
These sisters bring a robotically frantic energy to their adventurous absurd theatre, continuously staring down the bewildered audience in mock judgement, like an alien species beamed here to instruct tepid humans on the female body experience. A clinically scientific exploration from a truly unique point of view, this odd couple craft a surreal circus of body and mind bending contortions.
Eliciting gasps, guffaws and loud, honky cheers, "The Merkin Sisters" is a sensory assaulting, gender cheering, unique crowd pleaser, and what the Fringe is all about.
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EMERGENCY MONOLOGUES
MORGAN JONES PHILLIPS
(Studio 1201)
The Wheel of Misfortune! Laughs a comin'. Laughs and gore. Laughs and gore and tragedy. And a tune or two. The whole spectrum here folks, as Phillips tells paramedic tales blunt and sharp, good and bad, horrific and heartwarming. A spinning wheel choses the story so every show is different - a brilliant marketing maneuver.
More storytelling than acting, these monologues are a collection of engrossing tales one might hear in a tavern over pints as Phillips opens up his hectic world of daily emergencies with a warm, palatable, matter of fact delivery. A learning experience to boot.
Nice.
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BOOGER RED
JIM LOUCKS
(Studio 1201)
A towering tour de force, Jim Loucks looms large from the shadowy stage, grabbing audience like his preacher pappy would. About as slick and professional as a Fringe show can aspire, this is a one towering thespian workout punctuated with nuanced sound bites and moody spotlighting. Everything clicks with exquisite precision.
Recounting three generations of his family tree, Loucks inhabits his characters with slippery ease, delivering hard truths without judgement, life lessons and their consequences, the troubling aspects and deep rooted love of the male lineage.
This is riveting performance of the highest order, yet somehow feels at odds with the usual loosey-goosey vibe of the Fringe. Is raising the bar a good thing? Perhaps.
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2022 ARCHIVES:
GENERIC MALE: JUST WHAT WE NEED, ANOTHER SHOW ABOUT MEN
DARREN STEVENSON, ASHLEY JONES
(Arts Court Theatre)
And we have our topper. Worth the watch just for an evolving human chair and balancing monologue routine, this physically sumptuous play brings together a myriad of theatrical wonder in a tight, cohesive whole. Smartly written, cleverly sequenced, gobsmackingly performed, Generic Male asks tough gender questions, which run the gamut of funny to life and death. Cleverly poking holes in toxic masculinity whilst flexing physical masculinity is genius. Oh and the unforgettable slow motion soldier scene is simply astounding. Rousing standing ovation well deserved.
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TOMATOES TRIED TO KILL ME BUT BANJOS SAVED MY LIFE
KEITH ALESSI
(Atelier)
Get past the title, and the requisite banjo jokes, this is serious stuff. Serious can be good, and in this case very, very good. Keith Alessi has a story to tell, it is his, and it is quite something. From humble, Italian family beginnings to financial success, to midlife banjo crisis. Who hasn't been there? Throw in a life threatening - altering medical fork in the road and here we are. Alessi is an affable, approachable straight-shooting story teller, lover of terrible jokes, and a not too bad string plucker. It is impossible not to get caught up in his riveting ride. Warning, there may be clapping, foot stomping, singing, and all the feels.
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RELIQUARY
SCOTT MCCLELLAND
(Odd Box)
The creepy carny part of the Fringe, "Reliquary" features an old timey conjurer of magic, deception, fright and nervous laughter. Surrounded by an ominous collection of knick knacks, trinkets and relics, McClelland cuts a stunning figure of devilish horror as he runs through a series of parlor tricks. The atmosphere is nice and thick, perfect for a bit of macabre fun. Wish there were some screaming tots along for the ride instead of jaded adult folk. Oh well..
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TED HALL: THE TRUE STORY OF THE AMERICAN TEENAGER WHO GAVE THE ATOM BOMB TO RUSSIA
JEM ROLLS
(Odd Box)
A staggering hour long historic monologue from incomparable Fringe fave Jem Rolls digs deep into the cloak and dagger Manhattan Project, and dares to question the pros and cons of revealing atom bomb secrets to Joe Stalin's red menace. Eloquently British, Jem over enunciates his carefully sculpted words that are part documentary, part prose. The story of Ted Hall is a grand one, and somehow lost in the shuffle among the great war era scientists dictating a future we are still dealing with. Quite good this. Come for the lecture, but don't forget to enjoy the ride..
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ELEANOR'S STORY: AN AMERICAN GIRL IN HITLER'S GERMANY
INGRID GARNER
(Odd Box)
Wow. Just, wow. The story - an American family relocated to Berlin on the cusp of World War II - is terrifyingly absorbing, and the performance - by grand-daughter Ingrid - is sublime. Aided by stark black and white photographs screened as backdrop, Garner inhabits her grandmother's shoes as a coming of age teenager thrust into a horrific adventure. The pull and tug of the story, to which we all know the spoiler endings, is an achievement on a grand scale. Current events only add to the tension of an era we all thought long gone.
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FORBIDDEN CITY
MARTIN DOCKERY
(Studio 1201)
Like an irritating, skipping record, Martin Dockery tests his audiences' resolve with repeated false starts, squeezing the humour threshold to breaking point with the promise of eventual pleasure. Foreplay, as Martin admits, is his forte. This, as most of his travelogues, is not so much foreign adventure as it is about the human condition. It flows with tangents, seemingly wildly off topic, often hilarious, and in the end, all part the clever web he carefully weaves. In his manic Kramerish (Seinfeld) mannerisms, Dockery sucks the room, manipulating it for a tantalizing spell, before delivering the knockout punch. The man's a master.
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FORGET ME NOT - THE ALZHEIMER'S WHODUNNIT
ROB GEE
(Arts Court Theatre)
Unforgettable actually.
Rob Gee is a force. Big, bald and British, Gee slips seamlessly between fifteen distinct characters without prop or costume aid. It really is a thing to see. And hear. Gee's deep baritone pitches, his body language contorts, and subtle mannerisms help pull this off. A wonderful story full of intrigue, charm and heartbreak, "Forget Me Not" is the murder mystery to remember. It is also bloody funny. Come for the mystery, stay for the laughs, and don't forget your hankie.
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DEAD PEOPLE ARE LIKING THINGS ON FACEBOOK
CHRIS DUPUIS
(Atelier)
The after life has a new channel.
Presented as a dry, informative lecture, "Dead People Are Liking Things On Facebook" is much more than its flippant title suggests. After a crude opening joke Chris Dupuis gets down to business, and he is all business. Scrolling through social media feeds to tell the stories of passed friends who live on in the internet cloud sounds like macabre fun, and in an odd voyeuristic way it is, but it also provides an engrossing, developing, perpetual forum of remembrance that has a life of its own. For all the dirt that is dished at social media, there are unintended silver linings that develop quite organically. A unique, clever, powerful and thought-provoking presentation that lingers long past its hour run.
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THE PRE PANDEMIC ARCHIVES:
I THINK I'M DEAD
Al Lafrance
(Arts Court Library)
It's Zach Galafianakis! Well, close. Al Lafrance certainly strikes a similar pose, and delivers a manic stream of consciousness ramble. Also, he's damn funny. Funny and serious, in equal and competing amounts. With his heart on his sleeve, and unfortunate tattoos on his legs, insomnia sufferer Lafrance speaks openly about suicide, relationships, hurricane fetishes, trampoline miscues, parallel universes, death, broken hearts and broken ankles. Trust me, it all makes perfect sense. Lafrance's monologue is a wild roller coaster ride that speeds outta control and back in control on a dime, much like his thought process I suspect. Seldom is a performer so giving, so open, so vulnerable with his audience, but Lafrance manages an all encompassing group hug of a show, whilst giving out a series of unforgettable tales that are too tall not to be the absolute truth. Thanks Al.
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PACK ANIMALS
Holly Brinkman & S.E. Grummett
(LabO)
Woodpecker meets Beaver in the campiest feminist foray of the Fringe. Forget double, there's triple, quadruple and quintuple entendres flying fast and furious as our pair of summer campers from Oyster Bay and Camp 69 meet in the wild and wooly wilderness. Sparkplugs Brinkman and Grummett deliver their bouncy survival tale with rapid fire one liners, toe-tapping musical accompaniment, and slapsticky silliness. Tents are pitched and fires are started, with appearances by inappropriate animal puppets and fornicating fairies. Leave your blush at home, for this is all in good clean fun, well, except for the pooping in the woods sequence.
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WHO'S YOUR MOMMY?
Rachelle Elie
(Knox Presbyterian - Geneva Hall)
Every teenage boy's nightmare: his crazy, vaping, sex-obsessed, potty-mouthed mom. With a mini suitcase of magic tricks, an applause sign at the ready, and doused in sparkles, the glamorous mid-life crisis averting Rachelle Elie dishes taboo subjects to make the youngsters cover their virgin ears. Stand up comedy in a church basement is a tough sell, but baby, Rachelle is moving units. Blasphemy never felt so good.
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QUANTUM CALAMITY
Aerial Antics
(LabO)
Aerial acrobatics at the Fringe? Say no more. Well, maybe a bit more. Our time travelling steam punk trio (old school flying caps and goggles) run into red tape security (in bizarre Bowie meets Kiss garb and makeup) in a simple plot brimming with awful puns, that sets the scene for various gymnastic routines. Pretty impressive stunts in such a small space, but this seems more targeted to a younger set under a big top. Bring your younger self and enjoy.
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GOD IS A SCOTTISH DRAG QUEEN
Mike Delamont
(Arts Court Theatre)
What a hoot. Mike Delamont is comedic tour de force, and here, larger than life, in a peachy power suit, he, er she appears before us as the saucy Almighty. The Scottish accent is genius, allowing easy rapport with the game audience, and as usual, jokes are 75% funnier when delivered in brogue. God has a lot to say, and she says plenty. Everything from Genesis on, is fair game (seems the garden of Eden was all about snacks, not sex). Easy targets Scientology and Ottawa's fetish with festivals are knee-slapping highlights, as God's confounded disappointment with the silly human race, fuels this lickety-split one hour. This is the laugh out loud till your cryin' show of the fest.
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THE WALK IN THE SNOW: THE TRUE STORY OF LISE MEITNER
Jem Rolls
(Arts Court Library)
A World War Two race for the bomb turns out to be a fascinating tale of physics intrigue, political suspense, and a woman out of time and place. Delivered in his impeccably relentless manner, Jem Rolls out Lise Meitner's forgotten herstory in a breathtaking sixty minute monologue. It's a sweaty marathon of a performance that pauses only briefly to allow Jem a new angle on the audience, never losing his tight grip on full attention paid. Physics phans will love it, especially the spot on nuclear lessons, though there's enough top notch non-fictional drama to draw everyone in. With a deep British baritone and a penetrating stare, Jem commands attention oh so lacking in most history classes.
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NOT: A BEV ODA MEMOIR
Clara Madrenas
(Studio 1201)
Starting with a charming series of folksy fun songs, wide-eyed Clara Madrenas seems more like a kids entertainer than a political pundit. Though upon closer listen, there's a definite edgy bite to the bouncy tunes. Soon enough a time travelling politico story unfurls as parties past, present and future are expertly skewered and barbecued. It all revolves around $16 orange juice Bev Oda and her infamous "not" CIDA document edit. Entertaining, performed with dexterity, expertise and musical warmth, this play suffers a bit from bringing way too much to the dining table. A single course would be just right.
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BAT BRAINS OR (LET'S EXPLORE MENTAL ILLNESS WITH VAMPIRES)
Sam Kruger
(ODD Box)
What happens when technical difficulties strike down a show in mid roll? With the loss of audible cues from a (mainly) speechless performance (so yes, they are crucial), Sam Kruger apologized and proceeded with his play, adding explanations. It was rather odd, but necessary to complete the process. Kruger morphs his gangly, rubbery shape into a very striking Nosferatu. Part creepy, part sweet, part comedic, part confused, this is a vampire in search for much more complicated than a juicy neck. A dark, dreamy, abstract journey of experimental mime theatre rests solely on his hunched shoulders, and Kruger delivers. A show void of glitches will no doubt be truly spectacular.
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